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I? 


AUTHOR: 


PEPPLER,  CHARLES 
WILLIAM 


TITLE: 


COMIC  TERMINATIONS 

IN  ARISTOPHANES... 


PLACE: 


BALTIMORE 

DA  TE : 

1902 


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Peppier,  Charles  William,  1S72- 

Comic  terminations  in  Aristophanes  and  the  Comic 
fragments.  Pt.  i:  Diminutives,  character  names,  patro- 
nymics.   Baltimore,  J.  Murphy  company,  1902. 

53  p.,  I  L   23'-. 

Thesis  (ph.  D.)--Johns  Hopkins  university. 
Life. 


10-147^ 


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^ 


vJomic  Terminations  in  Aristophanes 
and  tlie  Comic  Fragments. 


Parti:    Diminutives^    CharacLer   Names,   Patronymics* 


A   DISSERTATION 


PRESENTED    TO    THE    BOARD    C  F    UNIVERSITY    STUDIES 

OF  THT^.  JOHNS  HOPKINS  UNIVERSITY  FOR  THE 

DEG     ES  OF   DOCTOR  OF  PHILOSOPHY, 


BY 


CHAPJ.ES  WILLIAM   l^EPPLEE, 

Professor  of  Greek  in  Emory  Cvt'i-jt. 


B^BI 


^^^  asp^i 


BALTIMORE: 

JOHN  MURPHY  co:^pa::y. 

1902. 


'i^i^A,, 


Columbia  ©nibersiitp 

in  tfte  €itp  of  ifjetu  |9orb 

LIBRARY 


^ 
^^^ 


1^  ^  -  '"  * 


'if??**' 


5    '_ 


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■•» 


iK.'s'^dMrM  t-M-^i..  k^:. 


7 


Comic  Terminations  in  Aristophanes 
and  the  Comic  Fragments. 


Parti:    Diminutives,    Character  Names,   Patronymics. 


A  DISSERTATION 

PRESENTED    TO    THE    BOARD    OF    UNIVERSITY    STUDIES 
OF  THE  JOHNS  HOPKINS  UNIVERSITY  FOR  THE 
DEGREE  OF  DOCTOR  OF   PHILOSOPHY, 


BY 


CHARLES  WILLIAM    I'EPl'LEK, 

I'rufessor  uf  Greek  in  Eiiwiy  CoUaje. 


BALTIMORE; 

JOHN    MURPHY    COMPANY. 

igoz. 


A 


< 


T)TX 


♦  ; 


CONTENTS. 


PAGE. 

Introductory 5 

Diminutives 0 

Meiotic  Diminutives 9 

The  liniiKxlerate  Use  of  Diminutives  : 

(I.   Multiplication  of  Diminutive  Suffixes U 

h.   Accumulation  of  Diminutive  Words ];; 

Diminutives  of  Endearment 17 

Diminutives  of  Contemj)t 23 

^it'tre 28 

Character  Names 30 

In  -wv QQ 

"   -''»"' 35 

''   - 37 

''  - 37 

"  -'«^ 38 

''   -- 41 

"   '-i 42 

Patron^'mics 44 


\ 


0      • 


COMIC  TERMINATIONS  IN  ARISTOPHANES 
AND  THE  COMIC  FRAGMENTS. 


4      « 


INTRODUCTORY. 

The  language  of  Aristophanes  is  full  of  comic  surprises.  These 
appear  in  a  variety  of  forms,  but  the  particular  kind  to  be  con- 
sidered here  is  that  which  arises  from  changing  the  termination 
of  a  word  by  substituting  for  the  usual  ending  one  that  is  new 
and  unexpected,  in  order  to  give  a  comic  turn  to  the  expression. 
Examples  are  i^KaXvfifi6<;  in  place  of  e^KaXvfjLfia  (cf.  KaXv/jifia, 
€7riKd\vfi/xa,  k.  t.  \.),  'Ax^pvLKoq  and  l3ahLaTiKo<^  for  'Ap^api^ei;? 
and  /3a8iaT7](;,  i^airarvWco  for  e^airarda)  in  a  diminutive  sense, 
and  hvcLKi^  and  rpLdicL^  for  8t9  and  rpi^.  In  the  same  way 
diminutives  and  patronymics  are  employed  for  the  comic  effect, 
instead  of  the  primary  forms,  the  former  often  debasing  and  ridi- 
culing things  high  and  exalted,  the  latter  giving  a  loftier  tone  and 
more  imposing  air  to  common  names.  Kipling  has  many  illus- 
trations of  these  comic  shifts  of  termination  :  cosmopolouse  for  cos- 
mopolitany  procrastitutes  for  procrastinatois,  Arabites  for  Arabians, 
gleesome  for  gleeful,  fear somely  for  fearfully,  recruity  for  recruit,  etc. 

In  deciding  whether  a  given  word  is  comic  or  not,  the  difficulty 
of  dealing  with  a  foreign  and  a  dead  language  is  enhanced  by  the 
imperfect  tradition.  The  rarity  of  a  form  is  not  a  sure  test,  for 
it  may  happen  either  that  a  word,  which  was  in  common  use  in 
ancient  times,  through  some  accident  occurs  only  once  in  the  extant 
literature,  or  on  the  other  hand  that  a  comic  formation  was  admired, 
appropriated  and  freely  employed  by  the  author's  successors,  so 
that  its  common  occurrence  keeps  it  from  appearing  in  any  way 
remarkable  or  unusual.  Furthermore,  the  sermo  familiaris,  which 
is  the  proper  sphere  of  these  forms  and  which  alone  could  present 


6    Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments, 

them  to  us  in  their  true  setting,  has  largely  disappeared,  much 
less  of  it  than  of  the  literary  language  being  handed  down  to  us. 
Speaking  of  the  impossibility  of  feeling  the  force  of  the  words  of 
daily  life  exactly  as  the  Greeks  felt  them,  Professor  Jebb  in  the 
introduction  to  his  Characters  of  Theophrastus,  pp.  1  sq.,  says : 
"  The  w^ords  of  a  dead  language  are  like  panes  of  stained  glass  seen 
on  a  bleak  morning.  The  genius  of  the  design  which  they  make 
up  can  be  felt ;  and,  if  the  separate  colors  seem  hard  in  the  gray 
light,  it  is  possible  to  imagine  them  deepened ;  but  no  imagination 
can  see  them  as  they  looked  when  the  eyening  sunshine  was 
streaming  through  the  window."  Consequently,  there  will  be 
more  or  less  uncertainty  at  times  as  to  the  comic  effect  of  a  ter- 
mination, and  neither  the  context  nor  any  other  source  of  help  will 
suffice  to  lead  us  to  a  sure  conclusion.  Naturally,  then,  opinions 
will  differ,  for  it  cannot  be  expected,  in  a  matter  so  subjectiye,  that 
all  will  agree  in  regarding  the  same  words  as  comic. 

DIMINUTIVES.^ 

There  is  no  class  of  terminations  that  Aristophanes  used  so  freely 
to  produce  a  comic  effect  as  the  diminutive  suffixes.  Originally 
they  indicated  smallness.  Small  objects  give  rise  to  various  emo- 
tions :  when  beautiful  and  attractive,  they  arouse  love  and  affection ; 
if  weak  and  in  distress,  they  move  us  to  pity  and  compassion  ;  when 
they  are  insignificant  and  mean,  they  call  forth  ridicule  and  con- 
tempt. Thus  diminutives  get  the  derived  significations  of  endear- 
ment, pity  and  aversion.  Since  the  same  thing  may  excite  emo- 
tion in  one  person  and  not  in  another,  it  is  just  as  necessary  that 
the  speaker  be  capable  of  having  and  expressing  these  feelings  as 
that  the  object  be  suited  to  produce  them.  Much  then  depends 
upon  his  nature  and  frame  of  mind ;  coldness  and  reserve  on  his 
part  operate  as  strongly  against  the  use  of  dim.  as  do  magnitude 
and  grandeur  in  the  object.  The  language  must  be  free  and 
unrestrained,  as  in  daily  conversation,  so  that  the  speaker  may 

^Cf.  L.  Schwabe,  De  deminutivis  Graecis  et  Latinis,  Gissae  1859;  L.  Janson, 
De  Graeci  sermonis  nominum  demiuutione  et  amplificatione  flexorum  forma 
atque  usu,  Jahrb.  f.  Phil.  u.  Piid.  Suppl.  5,  185  sqq. ;  G.  Miiller,  De  linguae 
Latinae  deminutivis,  Lipsiae  1865. 


i 


Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments.     7 

give  vent  to  the  feelings  that  are  aroused  by  the  contemplation  of 
the  object ;  otherwise  there  is  no  room  for  dim.  in  their  secondary 
use.  They  show  familiarity,  and  often  lightness  of  heart  and  a 
playful  spirit.  Hence  they  find  their  proper  sphere  in  the  speech 
of  the  common  people.  *'Das  Volk,"  says  Weise,  Char.  d.  lat. 
Spr.,  §  120,  ''hat  das  Herz  immer  auf  der  Zunge;  es  kann  und 
will  sich  nicht  verstellen,  triigt  vielmehr  offen  zur  Schau,  was  es 
denkt  und  wie  es  f  iihlt,  nicht  nur  in  seinen  Mienen  und  Gebiirden, 
sondern  auch  in  seinen  Worten.  Hier  kommt  oft  ungesucht  und 
unbewuszt  seine  Teilnahme  und  seine  Abneigung  zur  Geltuug.  So 
ist  die  Starke  Vorliebe  flir  Deminutiva  als  Zeichen  der  Kordialitat 
und  der  regen  Beteiliguug  des  Gemiits  an  der  Rede  aufzufassen." 

viroKopicrfio^. 

The  original  meaning  of  viroKopL^ea-Oai  is  ^  to  play  the  child 
{Kopo^,  Kopr])/  'to  talk  like  a  child,'  'to  imitate  the  language  of 
children  in  speaking  to  them.'    Phrynichus,  Anecdota  Graeca  Bek- 
keri  (abbrev.  A.  G.  B.)  47,  31  says  :  o-Tj^aLvei  to  Trpo^  ra  KOficB^ 
iraLOLa  vrjiria  yjreWL^Ofieiwv  rfj  ^(ovfj  Trai^etv  ic6po<^  yap  6  iral^, 
Cf.  857,  20  and  Lex.  Tim.  s.  v.     Since  baby-talk  naturally  con- 
tains many  dim.,  the  Greeks  employed  vTroKopia/jLo^  to  designate 
dim.  in  general  (ovofjia  /jLLKporrjTOf;  €/ji(f)avTLKov  koI  K6paL<;  ioLKo^ 
A.  G.  B.  855,  29),  but  the  notion  of  endearment  is  always  the 
most  prominent  one  in  this  word,  because  baby-names  are  tender, 
caressing  names.     One  kind  of  vTroKopccr/jLo^  consists  in  calling  a 
thing  by  a  fair  name  in  order  to  lessen  or  conceal  the  evil  in  it, 
e.  g.  \^<f)i\La  KOi]  ^evia  koI  eraipla  for  BovXeta  Dem.  19,  259,  j9e?'€- 
grinntio  for  mise7rima  fuga  Cic.  Att.  9,  10,  4.     After  discussing 
in  Rhet.  1,  9,  28  the  substitution  in  general  of  one  quality  for 
another  closely  related  to  it,  whether  the  end  in  view  is  praise  or 
blame,  Aristotle  turns  his  attention  in  §  29  to  a  special  variety  of 
this  misuse  of  names,  viz.  viroKopiafjio^,  in  which  a  man's  charac- 
ter is  looked  at  always  from  the  most  favorable  point  of  view,  and 
o  6pyLXo<;   Kal  6  /xaviKo^;  is   called   aTrXou?,   while   o    avOdhrj^;  is 
described  as  peya\o7rp€7rrj<^  Kal  aefivo^.     This  is  an  extension  of 
the    original   bland    use   of   u7roKopcafj.6<;.      For   other   exx.    see 
Cope-Sandys  on  Aristot.  1.  c.     While  this  form  of  hypocorismos 


8     Comic  Teniiinations  in  Aristophanes  and  the  Comic  Fragments. 

involves  the  change  of  the  whole  word  and  diminishes  the  force  of 
bad  words  only,  that  kind  which  is  expressed  by  dim.  endings 
affects  both  the  good  and  the  bad.  It  is  to  the  latter  only  that 
Aristotle  Rhet.  3,  2,  15  refers  in  his  definition  of  the  term  :  earLv 
6  vTroKopicr/jLOf;  o?  eXarrov  iroLel  koI  to  kukov  kuI  to  dyaOov,  coairep 
.  .  .  .  xP^^^^<^^P^ov  K.T.X.  A  dim.  of  a  good  thing  usually  gives 
rise  to  a  term  of  endearment,  a  dim.  of  a  bad  thing,  to  one  of  con- 
tempt; but  it  is  also  possible  to  apply  a  dim.  of  endearment  to 
something  bad,  and  a  dim.  of  contempt  to  something  good,  for  all 
depends  upon  the  point  of  view  of  the  speaker  and  the  feelings 
which  he  has  in  tlie  matter.  In  the  first  instance  his  feelings  are 
in  accord  with,  in  the  second  they  are  at  variance  with,  the  accepted 
opinion.  Just  as  one  epithet  applied  to  an  act,  says  Aristotle  in 
§  14,  may  result  from  contemplating  the  evil  side  of  it,  and 
another,  used  of  the  same  act,  may  come  from  a  higher  and  better 
view  of  it,  so  dim.  express  endearment  or  contempt  according  to 
the  way  in  which  the  speaker  regards  the  object,  whether  in  a 
favorable  or  an  unfavorable  light.  Hence  it  appears  that  the 
term  vTroKopiaTi/cd,  signifying  originally  caressing  words,  came  to 
be  applied  to  expressions  of  contempt  also.  This  was  in  the 
nature  of  things  because  the  fundamental  meaning  of  such  words, 
viz.  smallness,  readily  gave  rise  to  both  contempt  and  endearment 
as  derived  significations.  It  was  the  original  force  of  dim.  that 
Dionysius  Thrax  had  in  mind  (Uhlig,  p.  28,  A.  G.  B.  635,  15): 
VTTOKopLaTLKov  iaTL  TO  jxeiwatv  Tov  TTpcoTOTvirov  SrjXoijv  dcrvyKpL- 
TQ)9,  olov  dv6pco7rlaK0<i,  XLBa^j  /jbeipaKvXXcov,  and  this  definition 
was  adopted  by  the  Latin  grammarians  Diomedes  (1,  325,  25  K., 
cf.  1,  535,  19  and  7,  395,  10),  Charisius  (1,  155,  10  K.)  and  Pris- 
cian  (2, 101,  3  K.).  The  Romans  used  the  term  diminutio  (=/xet- 
a)(7t9,  iXdTTO)(TC(;)y  but  the  Greeks  with  their  livelier  nature  preferred 
to  give  prominence,  in  the  name  vTroKopLa/io^,  to  the  playful  and 
sportive  use  that  is  so  frequently  made  of  dim. 

It  is  mainly  dim.  of  contempt  that  are  comic.  A  threefold 
division  of  comic  dim.  is  only  a  matter  of  convenience  at  best.  In 
the  classification  that  follows,  when  the  meiotic  or  hypocoristic 
force  is  prominent,  even  though  it  results  ultimately  in  ridicule 
and  contempt,  the  word  will  be  placed  in  the  one  or  the  other  of 
the  first  two  classes. 


Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments,     9 


Meiotic  Diminutives. 

These  are  sometimes  employed  in  making  a  request  in  order 
that  the  thing  asked  for  may  seem  as  small  as  possible,  and  that 
the  favor  may  therefore  be  more  readily  granted.     This  begging, 
pleading  tone  is  noted  by  the  grammarians,  cf.  A.  G.  B.  855,  29 : 
6    viroKoptafio'^   ....  Xa/i/SdveTai   ....   eveKa   tov   ;)^p€ia)8oi/9- 
iTTTrdpiov  /JLOL  ;)^apto-ar    fM€Lco  yap  to  l^rjTOvfjbevov,  ha  eTotfioTepov 
7r/309  TO  Bovvac  iron^aa)  tov  e^ovTa,  and  An.  Ox.  Cram.  4,  273,  9  : 
yiveTai  tcl   vTroKoplcrfiaTa  ,  .   .   .  Bl   dvayKaioTrjTa,  w?  idv  b  ahy 
T69  (TfjLtKpvvT},  ha  fir]  fMeydXrjv  Tronjarj  ti)v  %rt/3^i^'   w  KexPl^Tai  ol 
KWfxiKot   &)<?   e^€t   TO   irapd   ^levdv^pw  XeffrjTiov.      Cf.    Ar.   Plut. 
984-5.     In  Mnesim.  3  an  avaricious  man  gives  his  nephew  the 
ridiculous  command  to  use  the  diminutive  rather  than  the  primary 
form  of  the  things  for  which  he  asks,  e.  g.  IxOvhiov  and  oyjrdptov 
in  place  of  Ix^v^  and  oyjrovj  in  order  that  the  young  spendthrift 
may    in    this    way    deceive    him    and    make    the    expense   seem 
easier  to  bear.      Ephippus  15  in  a  similar  passage — both   from 
Ath.  8,  359 — represents  a  penurious  youth  as  giving  directions 
for  the  purchase  of  provisions,  and  all  of  them  are  expressed  by 
diminutives.    The  galling  burden  (ra  cT/cevr],  Ran.  12)  about  which 
Xanthias  complained  so  bitterly,  he  calls  aKevdpia,  vs.  172,  ^a 
small  package,'  '  a  little  bundle,'  when  he  comes  to  bargain  with 
the  dead  man  for  carrying  it  to  Hades.     Finally,  in  the  scene  with 
Euripides  in  the  Acharnians  the  demands  that  Dicaeopolis  makes  on 
the  tragic  poet  are  all  ibr  dim.,  viz.  pdKiov  415,  inXihtov  439, 
^aKTi]piov  448,  aKevdpLov  451,  airvpihiov  453,  kotvXl(tkiov  459, 
XvrplhLov  463,  aiToyylov  463.     These  together  with  his  other  dim. 
(404,  412,  444,  447,  469,  475)  present  a  contrast  to  the  tragic  tone 
of  Euripides'  utterances  (cf  410,  419,  445,  449,  454,  456,  460, 
479);    Dicaeopolis  calls  the  rags  of  Telephus  pdmov  415,  but 
Euripides,  assuming  a  grand  and  stately  air,  refers  to  them  with 
such  highly  poetical  words  as  Tpvxv  418,  XaKiBe^;  TreirXcov  423, 
BvaTTLvP)   ireTrXcofiaTa   426,  paKco/jiaTa   432,  cf.   pdKr]  433.      The 
comic  effect  of  the  dim.  here  is  cumulative,  and  is  increased  by  the 
contrast  not  only  with  the  words  of  Euripides,  but  also  with  the 
tragic  expressions  and  parodies  that  Dicaeopolis  himself  mingles 
with  his  colloquial  speech  each  time  that  he  receives  an  article  from 


10     Comtc  Terminatims  in  Aristophanes  and  the  Comic  Fragments. 

the  wardrobe  of  the  beggar  Telephus.    Cf.  vs.  484,  and  Bakhnyzen 

on  Ran.  52  sq.  .      . 

Meiotic  dim.  are  comic  when  the  dim.  termination  comes  as  a 
surprise  at  the  end  of  words  with  whose  meaning  the  idea  of  small- 
i.es9  does  not  harmonize,  as  in  the  case  of  the  names  of  gods  and 
heroes,  and  their  possessions.  In  a  parody  on  Eur.  tr.  487  i>. , 
Aristophanes  calls  the  abode  of  the  great  king  of  the  gods  Jove  s 
8hack'-A.o,  h^o^dr^ov  Ran.  100,  311,  cf.  II  1,  18,  etc.  A  udi- 
crous  imitation  of  the  monodies  of  Euripides  in  Ran.  1331-bi 
represents  a  woman  as  invoking  Artemis,  the  huntress-queen,  to 
come  not  with  her  hounds,  but  with  her  puppies  («ui^iV«a?  1360) 
in  order  to  help  her  recover  the  cock  that  she  dreamed  her  neigh- 
bor had  stolen.  The  kitchen-utensils  of  the  gods,  called  aKevdpm, 
Pac  201,  are  given  in  detail  as  xvrptSia  koX  cravihia  KaiJ.4>opeiSia. 
The  tone  of  familiarity  in  these  dim.  often  carries  with  it  con- 

tempt.  , 

In  Plaut.  M.  G.  1265  Pyrgopolinices  had  boasted  that  he  was 

the  grandson  of  Venus  ;  in  1413  and  1421  he  is  ridiculed  as  the 
Goddess's  diminutive  grandson,   Venerius  nepotulus.     The  same 
comic  inconsistency  and  linking  together  of  unlike  and  opposing 
notions,  so  far  as  the  element  of  meiosis  is  concerned,  is  seen  in 
fraterculus  gigantis  Juv.  4,  98,  and  in  magna  estjoniacula  10,  8i, 
said  in  mockery  of  Tiberius.     By  means  of  diminutives  Cicero 
describes  Aris'  murder  of  his  wife  as  if  it  were  a  small  matter 
(Scaur.  6,  10) ;   the  irony  is  apparent :   Arinem  .  .  .  .negotium 
dedisse  liberto,  ut  illi  animlae  (cf.  anus  §§  8,  12)  non  tile  qmdem 
vim  adferret—neque  enim  erat  rectum  patronae—,  sed  collum  digitulis 
duohus  obUderet,  resticula  cingeret,  etc.  =  '  that  he  should  not  harm 
the  dear  old  lady,  but  just  choke  her  a  little  bit  with  two  fingers, 
and  tie  a  little  chord  around  her  neck.'     The  dim.  dieeulae  Plaut. 
Pseud    503,  tantae  turbellae  Bacch.  1057,  quantae  turbetlae  Pseud. 
no,  plm-atitlus  (conj.)  and  va-beretUlm  Poen.  377-8,  m«nusc«/im 
Cic'off.  3, 18, 73  are  comic,  because  while  the  words  here  m  reality 
stand   for 'something  large,  the  dim.  ending  suggests  the  very 
opposite.    The  same  contradiction  is  found  in  the  dim.  adjj.  vaten- 
tula  Plaut.  Cas.  852  and  ferocxdus  Turp.  ap.  Non.  75,  30,  Auct. 
B.  Afr.  16,  1. 


Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments.     11 

If  on  the  other  hand  the  dim.  suffix  is  attached  to  a  word  that 
is  contrasted  with  something  large,  it  makes  the  contrast  all  the 
greater.  The  addition  of  the  dim.  ending  in  ^oyfii^iov  Nub.  389 
and  ya(TTpiSiov  392  increases  the  contrast  between  them  and  the 
loudness  of  the  sound  thev  cause,  and  the  same  is  true  of  '  the 
little  cheese  of  Xenocrates '  (a8eo-7r.  292)  in  comparison  with  the 
time  taken  to  consume  it.  One  may  compare  ratiuiiGulanij  quan- 
tillum  in  Plaut.  Capt.  192-3,  where  the  extraordinary  appetite  of 
Ergasilus  makes  Hegio  solicitous  about  his  *  little  bank  account/ 
lest  it  should  prove  insufficient  to  provide  a  dinner  for  the  parasite. 

The  Immoderate  Use  of  Diminutives. 


a.   The  Multiplication  of  Diminutive  Suffixes, 

A  comic  effect  may  be  produced  by  an  immoderate  use  of  diminu- 
tives. Aristotle  cautions  against  the  addition  of  too  many  dim. 
suffixes  to  the  same  word  in  Rhet.  3,  2j  15  :  eanv  6  vTroKopio-fMo^ 
09  eKarrov  iroLel  koL  to  kukov  Kat  to  a^aOov,  ioairep  koI  o 
^ApLaT0(f)dv7j^  (TK(07rT€L  iv  Toh  ^a^vXwvioL^,  clvtX  /jLev  ^pvaiov 
ypvai^dpiov,  clvtI  8*  l/jbaTLOV  i/jLaTt8dpcov,  dvTi  Be  XoiBopia*; 
\oL8opr)fidTLOV  KOI  voarjiidTLOV  (yorj/judTiov  conj.  Fritzsch.).  evXa- 
^eiaOaL  he  hel  koI  irapaTTjpetv  kv  dfxc^olv  to  fjueTpiov.  In  Bergk's 
opinion  (Mein.  2,  982)  the  object  of  Aristophanes'  sarcasm 
here  was  to  ridicule  the  style  of  Gorgias  and  his  followers.  To 
the  Babylonians  also  belongs  /SocBdpLov  fr.  82,  and  Fritzsche  and 
Bergk  would  assign  Aristophanes'  coinage  ^t^ihdpiov  fr.  756  to 
the  same  play,  because  of  its  likeness  to  ^j^pi^cr^Saptoi/  and  i/jLaTcBd- 
piov.  ^(pBdpcov  Alex.  140  and  fwaBdptov  Diph.  21,  being  similar 
formations,  were  no  doubt  used  with  comic  intent. 

Even  words  with  the  shorter  dim.  suffix  -dptov  are  rare  in 
classic  times.  With  the  exception  of  TracBdptov,  I'mrdpLov,  Kvvd- 
pcov,  XoydpLOV,  ocKapiov,  olvdpcov,  TrXotdptov,  TrcoXapotv,  aKevapLov 
and  ylri^dptov,  they  occur  only  in  the  comic  poets  and  late  writers. 
Of  the  140  dim.  in  -dpiov  that  have  come  under  my  notice 
(Schwabe  has  counted  180),  all  but  30  make  their  first  appearance 
in  the  literature  after  Aristophanes'  time,  and  21  of  the  30  are 
found  in  Aristophanes.     Hence  Bergk  Comm.  410  is  justified  in 


u^ 


12     Comic  Tmninations  in  Aridophanes  and  the  Comic  Fragments. 

saying  that  they  belong,  not  to  the  conversation  of  the  cultured, 
but  to  the  more  vulgar  language  and  especially  to  late  comedy. 
Aristophanes  uses  them  generally  for  a  comic  purpose;    Ucker- 
mann,  De  Ar.  com.  vocab.  format,  et  composit.,  p.  22,  claims  that 
he  brought  14  new  dim.  in  -dpLOP  into  the  language.     Though 
somewhrt   uncertain,  the  Atticists   were   inclined  to  reject  these 
forms,  cf.   Phryn.  p.  180  Lob.,  Thom.  Mag.  p.  201,  A.  G.  B. 
43,  32  ;  49,  14  ;  104,  28  and  30.     Since  -dpcov  was  rare  at  this 
time  and  restricted  for  the  most  part  to  the  lowest  sphere  of  the 
lancruacre,  it   is   evident   that    the  words  in  -tSdpiov  with  which 
Ari'stophanes  ridiculed  the  excessive  use  of  the  dim.  suffix,  vere 
all   the   more  striking   and   unusual.     And   the  same   is   true  of 
TraiBiaKupLov  in  Menand.  338,  402,  though  there  is  greater  free- 

dom  in  later  times. 

This  extravagance  with  dim.  suffixes  is  seen  again  in  x^ai^-icr/c- 
IB-ior,  Upiafi-LW-v^p-iov  and  Xi^^-nK-ih-Lov, 

xXanaKlStov,  with  fMiKp6v  added,  Pac.  1002,  ^'  wee  little  coats" 
(Kog.).      Cf.  Stephariiscidium   Plant.  Stich.  740   for  the  ending. 
The  double  dim.  suffix  -[aK-Lov  is  not  common.     Masculines  in 
-tV/co?  occur  fairly  often,  there  are  a  few  feminines  in   4aKr],  the 
neuters   are   represented   only    by   o-apL^aXiana   (cf.   aavhaXiaico^ 
Ran.  405)  and  aaKeplaKa  in  Hipponax  18  B.*,  and  airXy^viaKOv 
and  a<i>e\l<jKov  in  Sam.  Inscr.  220  (Becht.).^     -iaKiov  takes  the 
place  of  -iaKov  when  a  neuter  is  needed.'     Besides  prjfiaTlaKcov 
Plato,  ixeXiaKiov  Alcman  Antiph.,  x^cti^i^'^'o^  Aeschin.  Ar.,  and 
four  other  examples  in  the  comic  poets,  viz.  KorvkiaKLov,  KaviaKLov, 
KahidKLov  and  irLvaKiaKLov,^  all  the  forms  in  -iaKiov  in  ray  collec- 
tion belong  to  late  Greek.     The  rarity  of  -iaKiov  in  classic  times 
emphasizes  the  unusualness  of  -LdKihiov, 

YlptapLLWvhpiov  Epicharm.  ahniX.  114  Lor.,  Kock  aZeair.  1373, 
was  used  ha  yeXolov  (An.  Ox.  Cram.  4,  254),  as  was  also  Upta- 
^vWlov  (A.  G.  B.  856,  1).  Lobeck  Proleg.  401,  9  :  UpiafiiWv- 
Spiov  ex  hypermiosi  pro  np^a^t'XX^oi^,  ypsilo  propter  epalleliam  in 
iota  mutato.     The  separate  dim.  suffixes  -6\\iov  and  -v^piov  are 

^Bergk,  Lyr.  Gr.*  2,  469. 

2  Cf.  Schwabe,  p.  64.    In  the  same  way  -vWov  is  not  found,  but  -vWiou,  cf.  pp. 

35,  62. 

3  See  also  conjj.  in  Ar.  fr.  481,  Anaxandr.  9,  and  Alex.  189. 


t 


») 


Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments,     13 

both  rare;  Schwabe  has  found  12  examples  of  the  former  and  16 
of  the  latter  (add  iroXyhpiov)  in  the  whole  literature,  nearly  all 
being  late  words. 

A7]fxaKLSiov  Eq.  823,  dim.  of  A ?;/!«?'  ^  vtilgar  form  of  AT^/xo?, 
cf.  p.  44,  is  used  fawningly  by  the  low-bred  sausage-seller. 

One  may  compare  peditastellus^  Plant.  M.  G.  54.     The  suffix 
-astro-  indicating  a  similarity  to  the  primitive  word  and  often 
expressing  contempt  (cf  Antoniaster,  parasitaster),  is  common  in 
the  sermo  vulgaris.     The  addition  of  the  dim.  suffix  brings  added 
contempt,  and  the  whole  serves  to  show  the  utter  disdain  of  Pyr- 
gopolinices  for  the  insignificant  foot-soldiers.     The  same  exagger- 
ation   is   seen    in   the   similarly  formed  gravastellus   {^gravaster, 
gravus),  Epid.  620.     But  classical  Latin  did  not  attach  a  number 
of  dim.  suffixes  to  the  same  word  as  often  nor  as  successfully  as 
the  Greek.     The  same  effect  was  produced  l)y  using  the  dim.  of 
the  modifying  adjective  as  well  as  that  of  the  noun,  in  which  case 
the  dim.  affects,  not  the  adj.  btit  the  noun,  or  rather  the  combi- 
nation of  adj.  and  noun,  as  Schwabe,  p.  5,  expresses  it.     Thus, 
parvulum  palliolum  is  equivalent  to  a  double  dim.  of  pallium,  and 
aureola  oratiuncida,  Cic.  N.  D.  3, 17,  43,  to  a  double  dim.  of  oratio, 
the  hypocorismos  passing  over  from  the  adj.  to  the  noun,  for  Cicero 
surely  would  not  have  detracted  from  his  praise  of  Laelius'  master- 
piece by  calling  it  'somewhat  beautiful.'     *  Somewhat'  may  serve 
as  a  translation  of  the  dim.  adj.  at  times,  as  when  the  feelings  of 
the  speaker  do  not  come  into  })lay,  and  especially  in  case  of  adjj. 
of  color  and  material.    The  Greeks  on  the  other  hand  formed  dim. 
adjj.  in  but  few  instances.    The  Dorian  Moschus  has  two  examples, 
8pi/xu\o9  2,  8,  Ahr.,  cf.  A.  G.  B.  857,  5,  and  /jlck/cvXo^  2,  13,  cf. 
Etym.  M.  s.  v. ;  and  the  adv.  Tra^^Xw?  occurs  in  Aristotle  Eth. 
N.  1,  3,  4.     In  the  comic  poets  the  only  dim.  adj.  is  KaOapvXXo^y 
Plat.  Com.  86,  Cratin.  27,  'cleanly,'  'fairly  clean,'  not  a  "comic 
dim."  as  Liddell  and  Scott  think.     The  notion  of  diminution  in 
adjj.,  i.  e.  'somewhat,'  'tolerably,'  'rather,'  is  frequently  given 
in  Greek  by  the  prefix  viro-  (=  Lat.  sub-), 

h.   Accumulation  of  Diminutive  Words. 

Another  way  in  which  the  use  of  dim.  is  sometimes  carried  to 
excess  is  in  heaping  together,  within  a  small  compass,  a  number  of 


14     Comic  Teiminations  in  Aristophanes  aiid  the  Comic  Fragments, 

dim.  words.  Assonance  has  much  to  do  with  this,  just  as  it  also 
partly  explains  the  fondness  of  the  Romans  for  dim.  adj^j.  added  to 
dim.  nouns.  Of  rupo?  X'^wpo?,  Tvpo<;  ^rjpo^,  k.  t.  e.  (Antiph.  133), 
Eustathius  1524,  13  says  ofMOioKaraXyi^la  TracyvLcoSr]^,  and  the 
same  is  true  of  the  accumulation  of  many  diminutives.     In  Anax- 

andr.  27 : 

Kal  avfjLTrai^eL  KapiBapioi^ 
fxera  TrepSiKLOV  kuI  OparTiSlcoVf 
Kal  yfrriTTapLOi<;  fiera  KwOapicDV^ 
Kal  afCCpSapLOL^  jiera  fcco/BcBLoyv, 

it  is  the  massing  of  dim.  that  produces  the  comic  effect.  All  but 
the  last  one  are  a-rra^  eip.,  yet  all  are  names  of  fish  and  the 
dim.  of  such  words  are  common.  Dalechamps  thinks  that  the 
purpose  of  this  fra^^ment,  like  Ar.  fr.  90,  was  to  ridicule  some  one 
who  was  in  the  habit  of  using  dim.  of  this  kind.  The  repetition 
of  the  same  dim.  ending  makes  more  striking  the  repetition  of 
thought  in  Eubul.  38  : 

Tpv^Xia  Se  Ka\  jSaTavca  Kal  KaK/cajSLa  Kal 
XoTrd^La  Kal  TraTchua  ttvklvcl  Tap(f)ea 
*KOvB'  av  Xi^wv  Xi^ai/ic, 

According  to  Casaubon  these  are  the  words  of  a  man  in  a  pet  whom 
the  poet  represents  as  stammering.  Other  instances  in  the  comic 
fragments  are  Ar.  fr.  247,  Ephipp.  15,  Amph.  35,  Philem.  26. 
In  the  complete  plays  of  Aristophanes  note  the  crowding  of  dim. 
in  Pac.  201-2  (quoted  p.  10) ;  in  Ran.  1203  : 

KUi  KcoBdpLov  Kal  XriKvOiov  Kal  OvXclklov, 

a  line  that  ridicules  the  trivialities  and  the  colloquial  elements  in 
Euripides*  style;  and  in  Eq.  100: 

fjv  'yap  fxedvaOo),  irdura  ravrl  Karairacro) 
^ovXev/jLaTLCou  Kai  yuw^iSlayi'  Kac  vol8l(ov, 

which  is  aimed  at  the  sophistical  subtleties  of  the  same  poet. 
Plautus  has  many  examples :  Pseud.  67*-68  (comic  effect  height- 
ened by  the  similar  word-endings  and  by  the  verse-rhyme) ;  Cas. 


i^ 


%> 


Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments,     15 

108,  837  sq.  (cf.  infra  p.  20);  Asin.  666-8,  693-4  (cf.  p.  19); 
Rud.  894,  1169-70;  etc.  See  also  Cic.  Tusc.  2,  18,  42;  Catull. 
25  and  57  ;  Spart.  Hadr.  25  ;  and  many  others. 

This  fondness  for  o/AotoreXeuTa  is  seen  in  all  ])arts  of  speech, 
and  produces  a  comic  effect  when  the  repetition  of  the  same  end- 
ing is  carried  to  excess,  or  when  at  the  end  of  two  words  several 
syllables  are   identical   or  nearly  so.      Commenting  on   yepovra^; 
6vTa<;  in   Xenarch.  4,  14,  Meineke  3,  618  sq.  says:  ^' non  ^sine 
comico  quodam  lepore  eadem  parechesi  usus  est  Aristoi)hanes  Yesp. 
277,  Ach.  222,"  and  compares  Phryn.  3,  Antiph.  230,  Menand. 
509,  etc.     Modern  rhyme  being  unknown,  there  is  little  difference 
in  effect  whether  the  ofMOLoreXevra  are  in  the  same  line  or  come  at 
the  end  of  successive  lines,  except  in  so  far  as  the  latter  position 
gives    them    greater  prominence   and  emphasis.      Antiphanes,  it 
seems,  was  fond  of  long  lists  containing  ofioioreXevra,  cf.  frr.  106, 
132, 133, 142, 148.     Cf.  Pherecr.  183,  Ar.  fr.  271  (cf.  Plant.  Cist. 
206-9),  Nicoph.  19  (cf.  Plant.  Aul.  508  sqq.),  Anaxandr.  65,  Arar. 
9,  Mnesim.  4,'  and  see  Earle  on  Eur.  Ale.  782-5.     Examples  of 
ofjioi.  in  the  eleven  plays  of  Aristophanes  are  Ach.  199,  269-70, 
546-54,  595-7  (cf.  Plant.  Pers.  702-5),  688,  1003-6,  1008-10, 
1015-6,  1208-9;  Eq.  115,  166-7,  1057;  Nub.  241,  335,  484-5, 
494-6,  711-5,  1456-7,  1504-5;  Vesp.  65-6,  973-4,  999-1000; 
Pac.  152-3,  291,  320,  380-1,  540-2;  Av.  1271-2;  Lys.  457-61  ; 
Ran.  463,  740,  841-2,  1001-2,  1478;  Eccl.  838-40;  Pint.  288, 
513-4.      In   Plautus  note  the  comic  use  of  o/jlol.  especially  in 
Pseud.  67^-8  {-iunculae);  in  acmhdntis,  potdntis,  amdntis  (1270); 
and  in  procdx,  rapdx,  trahdx  (Pers.  410),  answered  by  Dordalus 
with  eddxjurdx/fugdx  (421),  in  all  of  which  the  repeated  syllable 
gets  the  verse-accent.     See  other  exx.  in  Lorenz,  Einl.  z.  Pseud. 

S.  39  sq. 

New  and  unusual  words  sometimes  result  from  this  desire  for 

o/jLOioreXevTov.     Some  dim.  of  this  sort  follow. 

KtaTL^  Ach.  1137  is  formed  like  a  dim.  from  KLO-TTjy  so  that 
the  gen.  may  correspond  with  ao-7rt8o9  (1136).  Previously  (1098, 
of.  1086)  Dicaeopolis  had  called  the  chest  klo-tt],  and  elsewhere 
(Eq.  1211,  1216,  Vesp.  529,  Pac.  eQQ,  Lys.  1184,  Th.  284)  the 
primary  form  only  is  used.     Cf.  Mart.  4,  20,  4  : 

1  Lobeck,  Paralip.  54,  calls  special  attention  to  1.  59. 


16     Comic  Tenninailons  in  Aristophanes  and  (he  Comic  Fragments. 

Altera  ridlciila  est,  altera  puticlM^a. 

With  iSoLScipLov  Av.  585  Euelpides  imitates  ^ev^apiov  of  Peithe- 
taerus  (582),  both  words  having  the  same  position  in  the  line. 
Cf.  fr.  82,  sii})ra,  p.  11. 

rpiyXl^  Antiph.  QS,  vss.  8  and  15.  The  frequency  of  rplyXr] 
and  /iaivL<;  (cf.  fr.  132)  and  the  rarity  of  Tpiy\L<;  and  fialvr]  in  the 
comic  frr.  (v.  Jacohi's  Index)  show  that  the  dim.  rptyXl^  here  is 
due  to  a  desire  to  make  its  ending  like  that  of  fiatvl^;. 

aavvaKiov  Philem.  87.  The  Persian  word  aavvdicpa  was  changed 
to  aavvuKLov  so  as  to  make  its  ending  like  that  of  PariaKLov,  dim. 
of^ariaK/j.  Cf.  Ath.  497  f  In  Plat.  Com.  206  the  rare  word 
TraWaKia,  found  also  in  Alcman  92  B.'  (but  cf  90  H.),  seems  to 
have  been  chosen  on  account  of  fMeipciKLa. 

Note  also  kuI  XopiaKov  kuc  'EpyicrKrjv  Kal  yivpTLa/crjv  in  Aeschin. 
3,  82,  where  MvpriaKr]  is  substituted  for  MupT7;i^09  (Dem.  18,  27) 
for  the  sake  of  the  jingle  and  to  cast  contempt  on  Demosthenes. 

Outside  of  the  realm  of  dim.  the  influence  of  ofioioreXevrov  in 
making  new  and  comic  formations  is  seen  in  'XttlkwvlkoI  Pac, 
215,  cf  XaniovLKOL  212;  in  aKOTo/BLvcco  Ach.  1221  which  is  due 
to  aKOToBtvLCj  1219,  cf.  /Scvtjtloj  Lys.  715  ;  and  in  the  three  mid- 
dle verbs  which,  if  correctly  used,  would  be  active,  viz.  peyKerai 
Eq.  115,  mid.  used  because  of  TripSerat,  cf  104  ;  x^^P^f^^^  ^^^ 
7]SofjLai  Kal  x^ipoixaL  K€v(f)paLVOfiai  Pac.  291  (cf.  Pint.  288),  a 
mistake  attributed  to  the  Mede  Datis;  and  x^^^^^^  ^^'  1^)57, 
mid.  on  account  of  ^ax^o-airo. 

Plautus  has  the  plurals  pacibus  Pers.  753,  ynollitiis  Pseud.  173, 
and  vomstates  Pseud.  1257  in  place  of  the  singular  forms  because 
the  surrounding  words  are  plural.  Instead  of  molossi,  odiosi  and 
incomraodi,  Plautus  wrote  the  more  unusual  form  molossici  (Capt. 
86)  and  coined  odiosici  and  incommodestici  (87),  in  order  that  the 
endings  of  these  words  and  of  venatici  (85)  might  all  be  the  same. 
Martial  12,  58  formed  lecticariola  after  the  pattern  of  ancillariohts, 
both  words  having  the  same  position  in  the  line. 

Such  coinages  and  comic  shifts  of  termination  are  familiar  in 
our  own  humorous  literature  : 

*'  So  Irish,  so  modish,  so  viixtish,  so  mild "  (Leigh  Hunt) ; 
Polly -glotti^h,  to  rhyme  with  Scottish  (Hood) ;  vextasies  to  rhyme 


Comic  Term,inations  in  Aristophanes  and  the  Comic  Fragments.     17 

with   extasiea  (Pennell) ;   and  the  following  from  Kipling,  who 
frequently  indulges  in  these  inventions :  haronite  rhyming   with 
fight,  barbarious  with  various,  cavalree  wuth  Quay,  epnlept   with 
ivept,  kissage  with  visage,  Secretarry  with  marry,  etc. 

Diminutives  of  Endearment.^ 

It  is  to  the  familiar  conversation  of  the  home-circle,  and  espe- 
cially to  the  baby-talk  of  nurses  and  mothers  to  children,  that  dim. 
of  love  and  affection  primarily  belong.  Here  they  flourish  and 
from  here  they  spread  to  other  spheres.  See  Theophr.  Char.  20  : 
Kal  rh  iraihiov  tt)?  tltOt]^  d(j)6\6/jL6vo^  ^xaawfjLevo^  (Tiri^eLV  avro^ 
Kal  viroKopi^eaOat  TTOTrirv^cov  Kal  iravovpyiov  rod  irdTTirov  KaXoiV. 
Among  relatives  and  friends  dim.  are  less  stiff  and  formal,  warmer 
and  more  cordial,  than  their  primitives. 

TTaTTirihiov  Vesp.  655.  Philocleon's  comparison  of  his  sway 
in  the  court  with  the  rule  of  Zeus  (6UJ-25,  cf  esp.  621)  causes 
Bdelycleon  to  address  him  (652)  in  high  heroic  style  w  irdrep 
7)fiiTep€  KpoviSv  (II.  8,  31  ;  Od.  1,  45,  81  ;  24,  473).  Philocleon 
stops  this  with  fir]  Traript^e,  and  then  his  son  at  once  goes  to  the 
other  extreme,  calling  him  familiarly  w  iraTririhiov,  ^  my  dear 
little  daddy ' — a  comic  contrast  to  the  epic  grandeur  of  his  former 
mode  of  address. 

Liddell  and  Scott  call  iraTpihiov  a  comic  dim.  In  Yesp.  986, 
although  the  whole  situation  is  farcical  and  ridiculous,  Bdelycleon 
is  as  much  in  earnest  as  he  is  capable  of  being,  when  he  begs  his 
father,  now  brought  to  tears  by  the  whining  of  the  puppies,  to 
make  a  change  for  the  better.  The  dim.  expresses  real  filial  affec- 
tion. In  Theophil.  4  and  Xenarch.  4  also,  TraTpihiov  seems  to  be 
simply  a  dim.  of  endearment.  Hence  '^ comic"  in  L.  and  S.  can 
be  construed  only  in  its  widest  sense,  i.  e.  belonging  to  comedy, 
which  however  includes  all  dim. 

mhiov  Vesp.  1356.  Father  and  son  have  exchanged  their  rela- 
tive positions,  cf.  schol.  on  1351  and  1359.     Since  Bdelycleon  has 

1  Herodian  2,  858  L.  (cf.  A.  G.  B.  857,  20) :  vevSr^rai  rh  vnoKopiffriKhu  ^  Sia 
trai^iau  ^  Sia  KoKaK^iav  ^  5ia  rh  irpfirov  us  trap'  'AXKfxavi  eupo^ev  ras  irapdfvovs 
v-noKopidriKols  xp^l^^^°-^'  'TptTroi'  yap  rovro  irapQivois.  itpTjrai  Se  {moKopicrriKhv  napa 
rovs  K6povs  ijyovv  rovs  /xiKpovs  veovs  ^  ras  KSpas.  rovrovs  yap  virodufrevourfs 
TOLOvrois  KiXp'r]fxiQa  ovSfxacri  ws  -napa  M^vduSpcf  vqrrdpiou,  k.  r.  k. 


18     Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments, 

instructed  him  iu  the  fashions  of  the  day,  Philocleon  speaks  of  his 
son  as  the  governor  in  the  house,  and  of  himself  as  the  rebellious 
youngster  restrained  by  strict  discii)line.  Hence,  in  an  ironical 
way,  he  calls  Bdelycleon  '  my  dear  son,'  just  as  one  might  refer 
to  a  rigorous  parent  as  '  my  dear  father,'  cf.  schol. 

d^€\4>l^tov  Ran.  60,  cf.  164.  When  Heracles,  the  hero  of 
gigantic  strength,  learns  that  the  effeminate  little  wine-god  is 
sufferintr  from  such  a  consuming  passion,  he  asks  in  a  half- 
coaxing,  half-pitying  way,  like  a  fond  mother  to  a  sick  child, 
^my  little  one,  what  kind  of  a  longing?'  Dionysus  had  dared 
to  call  him  familiarly  '  brother,'  and  so,  in  his  reply,  he  adopts 
and  carries  further  this  tone  of  familiarity.  Moreover,  his  effort 
to  soften  his  big  voice  for  the  caressing  dim.  is  plainly  comic. 

reKvihiov  Lys.  889.  Since  tribrachs  in  the  third  foot  of  the 
iambic  trimeter  are  not  common,  the  best  scansion  of  the  line 
makes  the  first  syllable  of  reKvihtov  long,  and  this,  if  correct, 
stamps  it  as  a  parody  (cf.  Hermann  Opusc.  5,  290,  Meiu.  2,  478, 
Kock  Nub.  320),  perhaps  of  the  verse 

ixOpov  TTarpo^  /xot  tovto  (^IXraTOv  reKvov 

in  the  Prom.  Unbound  of  Aesch.  Such  a  dim.  of  tenderness  is 
appropriate  from  a  mother  to  a  child,  but  the  familiar  dim.  has  no 
right  to  a  place  in  a  tragic  line  (cf.  infra  p.  24),  and  furthermore 
the  dim.  suffix  is  here  attached  to  the  poetical  word  reKvov.  These 
inconsistencies  give  additional  comic  force  to  the  parody. 

4>L\oTTdpiov  Eccl.  891.    To  the  abstract  and  poetic  word  c^aoTr;? 

poetic  for  cj^lXlu — is  added  the  vulgar  dim.  suffix  -dpoiv  (cf.  p. 

11),  and  hence  there  is  a  union  of  the  highest  and  lowest  spheres 
in  this  unusual  dim.  that  the  old  woman  uses.  One  occurrence  of 
(t>L\6Tv^  for  (f>L\€,  '  my  love,'  is  found  in  Plat.  Phaedr.  228  D. 
Cf.  epcorvXo^,  '  sweetheart,'  in  Theocr.  3,  7. 

XapKihiop  Ach.  340,  cf.  333.  Dicaeopolis  threatens  with  death 
<  the  dearest  of  the  friends '  of  the  charcoal-burners  (1.  326),  and 
they  in  turn  say  that  they  will  never  forsake  their  ^'  beloved  dar- 
ling" (Frere).  This  paternal  affection  lavished  on  an  inanimate 
object  is  ridiculous ;  the  coal-basket,  however,  takes  the  place  of 
the  child  Orestes  in  the  scene  in  the  Telephus  of  Euripides  (Hygin. 
fab.  101),  that  is  here  parodied.     Cf.  Th.  689  sq. 


Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments.     19 

The  pet-names  of  the  nursery  are  often  adopted  by  lovers. 
Diminutives  are  the  natural  language  of  love,  and  readily  pass 
from  domestic  love  to  the  love  of  the  sexes.  Here  they  are  freely 
employed.    The  deserted  old  woman  in  the  Plutus  says  (11. 1010-1) : 

Koi  VT)  A^'  el  XvTTOVfjLevrjv  aiaOocro  fie 
vrjrrdpcov  av  /cal  cj^drTCOv  vireKopi^ero. 

as  she  recalls  the  tender  words  of  her  former  lover.  Comp.  Plant. 
Asin.  693-4,  666-7.  The  inappropriateness  of  applying  such 
terms  as  ^  ducky'  and  'dovey'  to  the  aged  and  lustful  old 
creature  in  PI.  1011  is  apparent.  When  in  963  the  Chorus  called 
her  ^€ipaKL(TKT]j  *  little  lassie,'  because  of  her  girlish  appearance 
(v.  wpf/cw?),  this  display  of  affection  was  ironical,  the  dim.  increas- 
ing the  mockery  and  ridicule  oi  fxelpa^j  v.  1071,  1079. 

Whenever  a  man's  passions  are  aroused  at  the  sight  of,  or  by 
contact  with  the  beloved  object,  diminutives  occupy  a  prominent 
place  in  his  vocabulary.  Dicaeopolis  and  Philocleon  both  come 
home  from  dinner-parties  drunk  ;  in  this  gay  and  festive  mood 
(cf.  Syrisce  Ter.  Ad.  763)  Dicaeopolis  addresses  the  two  dancing- 
girls  who  are  holding  him  up,  as  xP'^^^^y  ^^^^'  1200,  ^  my  jewels,' 
cf.  also  TLTei(Dv  1199,  and  Philocleon,  equally  happy  over  the 
flute-girl  Dardanis,  whom  he  has  stolen  away  from  his  fellow- 
banqueters,  calls  her  xP^dopLrjXoXovOiov  Vesp.  1342,  and  x^^-P^^^ 
1353  (cf.  mamillae  Plant.  Pseud.  180).  The  Chorus  of  Mvarai 
in  the  Frogs  makes  mention  of  the  bosom  {titOlov  412)  of  the 
pretty  little  maid  {jieipaKio-fCT]  409)  so  as  to  incite  the  lustful  god 
to  join  the  procession.  Peithetaerus  and  the  speaker  in  Cratin. 
302  are  agitated  by  the  presence  of  the  loved  one,  cf.  opviOiov  Av. 
667  and  xp^'^^'^^ov  in  Cratinus,  and  the  amorous  policeman  (Th. 
1184,  1185,  1188)  is  under  still  greater  excitement  when  he  utters 
the  dim.  rvydrptov,  tlttlo  and  iroaTiov  with  Elaphium  sitting  on 
his  knee.  Finally,  the  suffering  Cinesias  gives  partial  expression 
to  his  burning  desire  by  the  use  of  some  fervid  dim.  MyppivlBvov 
Lys.  872,  906  (cf.  Dobr.),  and  xP^^^^ov  930.  Compare  tltOIop  in 
Ach.  1199,  Pac.  863,  Th.  1185  and  Kan.  412  in  the  mouth  of 
men,  with  the  passionless  t6t^09  Th.  640,  spoken  by  a  woman. 
This  dim.  is  usually  hypocoristic,  not  meiotic,  and  the  words  of 
Pollux  2,  163 :  Tirdla  tidXiara  eVl  yvvacKcov  are  true  because  of 


k 


20     Comic  TtTmiiiatlons  hi  Aristophanes  and  the  Comic  Fragments, 

the  passion  that  generally  accompanies  it.      Cf.  also  Crates  40, 
Canthar.  6. 

There  is  no  more  ridiculous  outburst  of  passion  anywhere  than 
that  of  the  old  Lysidamus  in  the  scene  (Plant.  Cas.  4,  4)  in  which 
he  takes  Chalinus,  who  is  disguised  as  the  bride  of  his  bailiff 
Olympio,  to  l^e  the  bella  et  tenella  Casina^  and  lavishes  all  his 
loving  words  upon  him.  Note  his  comic  meum  corculum,  melculumy 
verculum  837  (cf.  Poen.  367,  Baccli.  22-3),  o  coi'pusculum  malacum 
(mellioilum)  843,  papillam  belhdam  848,  and  belle  belliatxda  854. 
In  Stich.  740,  where  the  two  slaves  summon  their  common  mis- 
tress to  join  the  carousal,  Sagarinus'  extravagance  with  dim.  suffixes 
in  Stephaniscidium  (cf.  supra  p.  12)  corresponds  to  Stichus'  ex- 
travagance in  the  use  of  epithets,  mea  suavis  amabilis  aiaoena 
Stephanium  (737),  both  serving  the  same  purpose.  Another  strik- 
ing illust^'ation  is  found  in  the  love  letter  of  Phoenicium,  Pseud. 
67^-8,  with  its  three  unusual  dim.  in  -unculae  at  the  end  of  suc- 
cessive lines : 

Teneris  labellis  modes  morsiuncidaey 
Nostrorum  orgionim  ....  iuiicidae, 
FapHlarum  horridularum  oppressiunculae. 

See  also  Asin.  223,  Cas.  134-5,  Rud.  416,  422,  424,  426,  etc. 

The  tender  caressing  dim.,  found  so  frequently  in  the  language 
of  love  and  the  praise  of  beauty,  is  naturally  applied  with  more 
appropriateness  to  women,  and  hence  is  more  striking  when  it 
occurs  in  men's  names.  The  scholiast  says  of  EvplttlSiov  in  Ach. 
404  :  ipcoTLKa<;  /jLtfielTai  c^coi^a?.  ol  yap  epcovre^  elxodaaL  tov<; 
ipco^evovi;  6pa)TiKM<^  St'  vTroKopLariKcbv  KoXelv,  and  the  author  of 
a  treatise  irepl  KWfxwhia^  (Duebn.,  p.  xvi)  makes  it  an  example  of 
the  fifth  kind  of  comic  diction  :  Tri^irTov  Kara  vTroKopLa/iov,  co? 
TO  ^wKpajihioVy  ^vpiTTiSiov.  Siucc  dim.  were  first  used  by  parents 
to  children  {k6po<;),  and  hence  by  superiors  to  inferiors,  the  tone 
of  familiarity  becomes  comic  when  this  relationship  is  reversed 
and  those  of  higher  rank  are  thus  addressed  by  their  inferiors,  as 
in  EvpiTriSiov  Ach.  404,  475,  IcoKparlScov  Nub.  222,  237,  746, 
ArjfXiSLov  Eq.  726,  1199,  'Ep/ilScov  Pac.  382,  KvkXcottiop  Eur. 
Cycl.  266,  heaTTOTL(TKo<^  Cycl.  267,  k.  t.  \. 


> 


Comic  Temiinations  in  Aristophanes  and  the  Comic  Fragments.     21 

Dicaeopolis,  the  plain  farmer  of  Cripple  Creek,  uses  the  familiar 
EvpcTTiSLov  Ach.  404  in  summoning  the  great  poet  Euripides,  one 
of  the  princes  (/coLpavot  472)  of  earth  to  reveal  himself  to  sight. 
Later  on,  as  his  demands  on  Euripides  multiply  and  his  enthu- 
siasm increases,  his  mode  of  address  becomes  more  pleading  (cf. 
437,  452,  462,  467)  until  finally  (475)  he  breaks  forth  passionately 
with  the  fervent  cry  EvpurthLov  w  yXvKvrarov  Kal  (j^iXraTov, 
Equally  inappropriate  is  ^wKparihcov  Nub.  222,  237  from  a  'crea- 
ture of  a  day '  to  the  high  and  mighty  philosopher  suspended  in 
the  air  like  a  god  in  tragedy.  See  also  vs.  746.  The  limit  is 
reached  when  this  tone  of  familiarity  is  adopted  in  speaking  to  a 
god,  as  in  the  coaxing  'EpfMihtov  '  darling,  dearest  Mercury,'  Pac. 
382,  cf.  377,  388,  416.  In  the  same  way  Silenus  in  Euripides' 
satyr-drama  tries  to  turn  away  the  wrath  of  Polyphemus  by 
addressing  the  monster  in  such  wheedling  terms  as  w  KvK\(i)7riov, 
Cycl.  266,  cf.  262,  and  c5  heairoriaKe,  1.  267,  cf  250,  'my  dear- 
est little  Cyclops,  oh  !  dear  little  master.'  The  Chorus  in  this 
play  calls  the  heroic  son  of  Atreus  'the  good  little  man  {avOpco- 
iTLov,  1.  185)  Menelaus.'  In  general,  the  effect  of  these  dim.  is  to 
drag  down  from  their  high  estate  the  persons  addressed  and  to 
detract  from  their  dignity  by  reducing  them  to  the  level  of  chil- 
dren {Kopos:).  On  the  other  hand,  in  ^eLhiTnrihLov  Nub.  80  and 
'B.avOihiov  Kan.  582  the  dim.  are  altogether  suited  to  the  character 
of  the  son  and  the  slave  ;  whatever  comic  element  there  is  here  lies 
in  the  fact  that  father  and  master  have  an  ulterior  motive  in  using 
these  terms  of  endearment.  With  the  coaxing  "EavOihiov^  cf. 
3Iilphidisce  Plant.  Poen.  421,  Olympisce  Cas.  739. 

Trygaeus  "  shows  his  folly  and  madness "  (schol.  Pac.  76)  in 
bestowing  his  affection  on  the  huge  dung-beetle  which,  like  Belle- 
rophon's  winged  steed  Pegasus,  is  to  carry  him  to  heaven.  He 
pets  and  caresses  his  'little  colt,'  calling  it  fondly  Uyydo-tov. 
This  line  is  a  parody  on  the  words  of  Bellerophon  : 

dy\  oi  (plXov  fJLOi  Ylriydaov  irrepov  (Eur.  fr.  306  N.^). 

Cf.  reKvihiov  for  the  use  of  diminutives  in  a  parody. 

It  is  the  part  of  the  Sausage-seller  in  the  Knights  to  outdo  the 
Paphlagonian  in  fawning  and  flattery  (cf  788,  890,  903)  as  well 
2 


22     Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments. 

as  in  irar'idence  and  knavish  tricks.  This  adulation  is  often 
shown  in  his  diminutives  (cf.  Prise.  2,  101,  22  K.) ;  see  his  <« 
AvaiBwv  S^  4>i\Tarov  726  (Kock^),  his  vulgar  S,^,xa>cjBiov  S26 
«  niv  dear  little  Peopev  "  (Walsh),  and  his  exultant  cry  o,  S,,t.iBiov 
11  qq  when  he  i-resents  the  stolen  hare's  flesh  to  Dennis;  finally, 
when  a  decision  between  the  two  is  to  be  rendered,  he  tells  his 
'dear  little  daddv'  {TraTnrlBtov  1215)  that  his  chest  is  empty,  he 
has  given  him  all.  Other  dim.  that  show  his  fawning  nature  are 
Kvxlyvio:.  90.],  i\>c6Bp^a  907  'a  nice  little  pot  of  ointment  for 
your  dear  little  sores,'  and  o-^f^aX^'^'"  909  '  y*^"''  ^^^'^i"  1'"'" 
eyes.'     Note  that  these  come  immediately  after  903  : 

0  'yap  ^eo?  fi"  exeXevae  viKi}(xai  a  aXal^oveiai'i. 

The  following  dim.  are  more  or  less  comic  : 

-rrvyihiov  Eq.  1308.  The  dim.  expresses  pity.  Interest  in  such 
matters  is  characteristic  of  the  Sausage-seller,  cf.  785,  796. 

hvihov  Vesp.  1305  a^a^  elp.  The  picture  presented  is  comical 
enough,  and  the  sportive  dim.  adds  to  the  fun. 

Ba^iBiov  Hipparch.  1.  So  much  affection  lavished  upon  the 
mat  is  absurd.     The  dim.  suffix  as  well  as  dya7rvr6v  contributes 

to  the  comic  effect. 

BcKaarvplBiov  Vesp.  804  ("  Courtlet ",  Rog.)  is  hypocoristic  as 
^vell  as  meiotic,  for  Philocleon  loves  the  Court  and  all  that  per- 
tain'^  to  it,  cf.  BckIBiov.  It  must  have  been  unusual  for  the  solemn, 
awe-inspiring  Court  of  Justice,  which  is  said  to  thunder  just  as 
Zeus  does  (624),  to  appear  in  a  dim.  form. 

BikIBiov  Vesp.  511.  Compare  these  words  of  Philocleon  (o08- 
11),  while  suffering  from  the  mania  for  the  law-courts,  with  vs. 

spoken  after  he  has  been  cared  of  his  infatuation,  and  when,  hav- 
ing gone  to  the  other  extreme,  he  looks  back  upon  his  son  as  occu- 
pying his  own  former  position,  cf.  vthcov  supra  p.  17.  Objects  of 
every-day  life  in  which  one  finds  pleasure  and  especially  delicacies 
of  the  table  are  often  expressed  by  dim.,  and  like  these  ^  the  little 
suitlet'  that  Philocleon  prefers  to  ray-fish  and  eels,  has  the  dim. 
ending  as  if  it  were  itself  a  kind  of  fish,  cf.  ^ciyot^i'  hv  iv  XoirdSi 


Cojnic  Terminations  in  Aristophanes  and  the  Comic  Fragments.     23 

ireTrviy^evov.  See  also  prjfjLdrLa  in  Eq.  216  and  Vesp.  668.  This 
mixture  of  unlike  things,  concrete  and  abstract,  material  and  im- 
material, is  frequent  in  Aristophanes,  the  less  material  being  intro- 
duced as  a  surprise  and  often  in  the  dim.  form,  cf.  Ach.  398,  447 
(cf.  Theognet.  1),  Eq.  99-100,  Nub.  321,  Vesp.  878,  Ran.  939- 
44,  etc. 

Kp6L(TKo<;  Alex.  189  w^as  perhaps  meant  to  be  comic,  do-relov 
Trdvv.  The  usual  dim.  of  Kpia^;  is  Kpedhiov^  which  Alexis  uses 
five  times.  Kpe'io-Ko^  is  found  nowliere  else.  The  great  mass  of 
dim.  in  Greek  are  neuter,  and  the  common  practice  was  to  make 
neuter  dim.  from  masc.  and  fem.  nouns,  but  KpetaKOi;,  cravhaXiaKo^ 
Ran.  405  and  o-neXlaKo^  Eccl.  1167,  all  aira^  elp.,  are  striking 
exceptions  since  they  reverse  this  rule,  being  masc.  dim.  derived 
from  neuters. 

Diminutives  of  Contempt. 

When  the  speaker's  feelings  are  hostile,  diminutives  of  ''the 
good  "  and  of  ^*  the  bad ''  both  express  contempt.  If  a  dim., 
apparently  hypocoristic,  is  used  ironically,  the  result  is  contempt, 
cf.  the  ironical  use  of  ^dear,'  *  fine,'  etc.  in  English;  never- 
theless, it  seemed  best  to  discuss  instances  of  this  ironical  dim. 
under  the  head  of  dim.  of  endearment. 

In  this  chapter  a  prominent  place  must  be  given  to  Aristopha- 
nes' criticism  of  the  style  of  Euripides,  which  he  often  ridicules 
by  the  use  of  a  contemptuous  dim.  Euripides  turned  aside  from 
the  high  and  lofty  diction  of  his  predecessors,  and,  in  contrast  to 
the  bombastic  grandeur  and  the  solemn,  stately  movement  of  the 
plays  of  Aeschylus,  deliberately  adopted  a  less  exalted  and  more 
homely  style,  which  in  the  dialogue  parts  approached  nearer  the 
speech  of  the  law-courts  (Quintil.  Inst.  10,  1,  6S)  and  the  lan- 
guage of  every-day  life.  The  amount  of  labor  that  he  expended 
in  the  construction  of  his  sentences  does  not  reveal  itself  under  the 
smoothness,  fluency  and  somewhat  colloquial  character  of  his  style; 
he  was  the  first,  says  Aristotle  in  Rhet.  3,  2,  5,  to  conceal  his  art 
by  choosing  words  and  expressions  from  the  ordinary  language. 
For  this  facile  writer  Aristophanes  had  an  intense  hatred,  and 
made  fierce  attacks  upon  him  as  the  evil  genius  of  the  Athenian 
stage,  as  an  innovator  who  degraded  tragedy  and  introduced  into 


24     Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments. 

it  vuli^ar  and  commonplace  thouglits  and  expre.-^sions.  When 
accused  of  imitating  liim  Aristophanes  admitted  (fr.  471)  tluit  he 
used  his  terseness  of  speech,  but  heaped  contempt  on  him  hy  add- 
ing that  his  own  thoughts  were  less  vulgar  and  savored  less  of  the 
market-place,  v.  schol.  Plat.  Apol.  19  C.  Since  diminutives  hear 
the  stamp  of  the  sermo  lamiliaris,  Aristophanes  used  tiiem  to  ridi- 
cule the  colloquialisms  of  Euripides.  This  he  did  by  introducing 
them  unexpectedly  into  quotations  or  j)arodies  of  the  tragic  poet, 
and  the  effect  of  bringing  together  words  irom  totally  ditlerent  and 
diametrically  opposed  spheres  of  the  language,  tragedy  and  comedy, 
was  necessarily  comic."  The  feelmg  that  the  dim.  is  out  of  place 
in  a  tragic  line  increases  the  fun  of  the  XijkvOlov  airwXecrev  scene 
in  the  Frogs,  as  the  '  little  oil-tiask  '  is  tacked  on  again  and  again 
to  a  passage  taken  from  the  beginning  of  one  of  Euripides'  pro- 
logues. Xi^Kvdiov,  with  its  hit  at  Euripides'  references  to  lowly 
matters  of  domestic  life  (cf.  971  S(i.  and  Porson  h.  1.),  not  only 
ridicules  this  blending  of  poetic  and  prosaic  language  in  his  plays, 
but  presents  a  striking  contrast  to  the  imposing  stature  of  Aeschy- 
lus' compounds ;  and  so  also  do  the  three  dim.  in  1203  : 

Kai  KCoBdpiov  ;  fcal  XijkvOlov  \  Kal  6y\dKiov, 

a  line  remarkable  for  the  monotony  of  word  and  rhythm  (-  -  j  u  u  - 
occurs  three  times),  and  for  the  unusual  anapaest  in  the  sixth  foot. 
A  similar  attack  on  Euripides'  ^' mixed  style"'  is  made  in  Ran. 
1477-8  : 

Tt9  olSev  el  TO  ^rjv  fiev  iart  KarOavelv, 

TO  irvelv  Be  Beiirvelv,  to  Be  KaOevBetv  kojBlov  ; 

by  introducing  the  dim.  kcoBiov  into  a  parody  on  Eur.  fr.  Q'-IS  N.^ 
(of  833).  alOipa  Ai09  Bay^c'iTiov  Ran.  100,  311  parodies  aWip" 
oXkt)(tlv  Ato9  in  Eur.  fr.  487  X.-,and  KwiaKi)  Ran.  1360  occurs  in 
a  ridiculous  imitation  of  Euripides'  monodies.  Finally,  in  the 
burles(pie  (jf  the  pi](TeL^  of  messengers  in  tragedy  (Ach.  1174-85) 
the  familiar  dim.  x^'^P^^^^^  ^^  found  in  a  poetic  environment, 
notablv  the  Euripiduan  repetition  vBojp  vBoip  and  the  poetic  S/xwe?. 

^See  Dionysius  of  Halicarnassus,  De  Vett.  Scriptt.  Cens.  2,  11:  K(Kpaix(v7)  ttis 


Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments.     25 

His  intermixture  of  colloquial  style  was  distasteful,  btit  far  more 
dangerous  and  detestable  to  Aristophanes,  the  conservative  aristo- 
crat, was  his  advocacy  of  the  new  doctrines  of  the  sophists.  His 
love  of  rhetorical  display,  his  subtle  words  and  dainty  phrases 
elicited  nothing  but  contempt  from  the  comic  })oet.  While  the 
words  of  Aeschylus  are  called  pr^fxara  Ran.  821,  824,  854,  881, 
924,  940,  1004,  those  of  Euripides  (except  in  Ran.  828)  and  of  the 
new  learning  are  called  pr^^dTua  Pac.  534,  Ach.  444,  447,  Nub. 
943.  With  the  pyj/iaTa  of  Aeschylus  in  Ran.  881  compare  the 
poetic  saw-dust  of  Euripides  (v.  schol.),  with  the  pi'^fxaTa  of 
Aeschylus  again  in  940  compare  the  eirvWia  of  Euripides  in 
942,  and  with  the  lyrics  {/JieXr})  of  Sophocles  compare  the  iirvWia 
and  pi^fidTia  of  Euripides  in  Pac.  531-4.  In  still  another  pass- 
age, Ach.  398,  Aristophanes  ridicules  the  poetry  of  Euripides  with 
this  word  iirvWia.  Cf.  elegidia  Pers.  1,  51,  versicuhis  Hor.  Sat. 
1,  10,  32  and  58,  Mart.  6,  44,  23,  etc. 

Abstract  words  do  not  properly  take  the  dim.  suffix.^  They 
belong  to  a  higher  sphere  than  the  sermo  farailiaris,  w4nch  is  the 
peculiar  province  of  the  dim.  The  common  people  give  free  ex- 
pression to  their  feelings,  and  often,  the  more  ignorant  and  vulgar 
the  speaker,  the  greater  the  number  of  dim.  used  by  him,"  but  in 
the  intellectual  world  of  abstract  terms  and  philosophical  reason- 
ing the  mind  rather  than  the  heart  is  dominant.  When  therefore 
the  dim.  suffix  is  attached  to  abstract  words,  it  is  no  longer  warm 
and  passionate,  but  generally  denotes  over-refinement  and  subtlety 
of  thought,  and  in  this  sense  is  employed  by  the  comic  poets  for 
the  purpose  of  ridicule.  That  Aristotle  had  these  dim.  in  mind 
when  he  uttered  his  warning  against  the  excessive  use  of  the  dim. 
ending  (Rhet.  3,  2,  15),  is  shown  by  two  of  the  examples  cited, 
XoiBopi-jfjidTiov  and  voarifjLdTiov  (better  vorffxaTLov).  Bergk's  view 
that  Aristophanes'  attack  here  was  directed  against  Gorgias  and 
his  school  seems  probable  from  the  fact  that  elsewhere  he  coined 

»  Cf.  Wolfllin,  Philol.  34,  156  ;  Lorenz,  Einl.  z.  Pseud.  S.  58. 

-  Carlo  has  20  out  of  the  43  dim.  in  the  Plutus  and  the  Sausage-seller  uses  15 
of  the  27  in  the  Knights.  The  two  slaves  have  rather  more  than  their  due  pro- 
portion in  the  Wasps,  the  Megarian  has  the  majority  of  the  dim.  in  the  Megarian 
scene  (Ach.  729-835),  and  the  Policeman  in  Th.  1176  sq.  uses  7pa5to(i/)  7  times, 
while  in  all  of  Aristophanes  it  is  found  only  14  times. 


26     Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments. 

abstract  dim.  forms  to  ridicule  the  sophists  and  Euripides.     Eq. 
100,   for    example,   with    its    three   abstract   dim.  ^ovXevfidnov, 
yvJfMl^cov  and  volSiov,  is  a  comic  thrust  at  the  hair-splitting  and 
supersubtle  tendencies  of  the  age,  and  the  same  is  true  of  yvayfii- 
Siov  again   in  Xul).  321  :  ypcDfitSlay  yvwfirjv  vv^aaa,  a  part  of  the 
description   of  the   etfect    produced    on    Strepsiades'   soul   by  the 
api^arance  of  the  Clouds,  the  goddesses  who  nourish   the  airy 
dreamings  and  windy  bombast  of  the  sophists.     Compare  Cic.  De 
Fin.  4,  3,  7  pungunt  enim,  quasi  aculeis,  interrogatiunculis  angustis, 
and  Parad.  praef.  2  minutis  inter rogatinnculis,  quasi  punct is,  quod 
proposuit  eMcit.     See  also  Tusc.  2,  18,  42  contort ulae  et  minutae 
concluminculae.     For  yvco^lSiov  elsewhere  see  Kock  d^eair,  838 
{cwaaTTdv  yi'cofiiSiov)  and   1464  (yvcofiiBia  Kat  Trpo/SovXevfi/iTLa), 
and   Philologus  47,   26  sq.  {yva^^iSic^yKTi]^^  Cratin.  307).     With 
dvaaTrdv  yvw^ihiov  cf.  pi^^ariaKLu  dvaairdv   in   Theaet.  180  A, 
where  Plato  mocks  at  the  unstable  Heracliteans  (roh^  peovra^) 
and  their  shifting  methods  of  argumentation,  calling  their  enig- 
matical sayings  '  little  wordlets '  :  aXV  av  rtvd  re  eprj,  Mairep  U 
(f)ap€Tpa^    pi^pLariaK'.a    alvtyfiardj^y]    dvaaTT^vre^    dTTOTO^evovai, 
K,  T.  €.     In  Nub.  943-4  : 


>        V 


prj/iaTLOicTLi  Kaivoi^  avrov 
Kat  hiavoiai^  Kararo^evaw. 

pvpdrcov  is  similarly  used  of  the  new-fashioned  words  of  the 
sophists.  Finally,  the  purpose  of  aKaXaOvpfidrLov  Nub.  630  and 
Xoycipcov  Theognet.  1  (cf.  Ar.  fr.  810  and  Bentley  on  Menand. 
755)  is  likewise  to  make  fun  of  the  subtle  speeches  and  minute 
investigations  of  the  philosophers. 

ct>o)vdpiov  Ar.  fr.  644  '  a  dainty  little  voice,'  is  preserved  by  PolL 
4,  64  in  the  form  (t)a)vdptov  mBlkov  ical  KapiTTiKov  which  was 
probably  written  in  derision  of 'some  fashionable,  foppish  advocate 
of  the  new  order  of  things,  cf.  Eq.  1378  sq. 

^evvhpiov  Menand.  462  is  a  comic  dim.  and  shows  a  dislike  for 
foreigners  on  the  part  of  this  over-careful  and  up-to-date  cook, 
whose  fondness  for  adjj.  in  -lk^^:;  is  noteworthy. 

Turn  now  to  a  more  general  use  of  dim.  of  contempt : 

dvOpo^iTdpLov  PL  416,  spoken  by  Poverty  to  those  who  would 
restore  to  Plutus  his  sight,  expresses  contempt  mixed  with  pity. 


Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments.     27 


It  is  found  again  in  Arrian  but  nowhere  else,  while  dvOpwiriov  and 
dvOpcoTrLaKd  are  common  in  the  contemptuous  sense  (eV^  Kara- 
<^pov}]a€03^  A.  G.  B.  14,  14).  Cf.  homunculus  Plant.  Capt.  51, 
Rud.  155,  etc.  Both  here  and  in  dvSpdpiov  Ach.  517  the  dim. 
suffix  -dpiov  is  used,  which,  as  shown  above,  p.  11,  was  compara- 
tively rare  in  classic  times  and  entered  into  the  speech  of  the  lower 
classes  rather  than  that  of  the  more  cultured  circles  of  society. 

dvhpdpiov  Ach.  517  repeats  dvhpe^  of  515  and  shows  by  its  dim. 
ending  the  aversion  Dicaeopolis  feels  for  the  informers,  whom  he 
holds  partly  responsible  for  the  outbreak  of  the  war.  Barring 
Meineke's  conj.  dvhpapioL^;  for  dvOpcoiroi^  in  Vesp.  1029,  cf.  Pac. 
751,  this  word  does  not  occur  in  the  literature  again  until  the  time 
of  Synesius.  yvvaiKaptov  is  found  without  context  in  Diocl.  11, 
cf.  2  Tim.  3,  6  ;  yvvatov  with  a  contemptuous  force  is  common. 

/jL€tpaKv\\cov  in  Ran.  89  (cf.  Eupol.  100)  ridicules  the  tragic 
poets  of  the  day.     Cf.  Naev.  ap.  Cic.  Cat.  Mai.  7,  20 : 

Proveniebant  oraiores  novi^  stulti  adulescentuli. 

There  is  contempt  also  in  dyevecov  fieipanvWiov  Epicrat.  5  (cf. 
Cic.  Dom.  14,  37)  and  in  Tpt/3aWo7ro7rav60p€7rTa  fieipaKyWia 
Eubul.  75. 

Upia/jLvWiov  and  UpiapcWvSpiov  Kock  dSeair.  1373,  Lorenz 
Epicharm.  dSrjX.  114,  S.  289,  are  cited  as  examples  of  comic  dim- 
inutives by  the  schol.  Dionys.  Thrac.  A.  G.  B.  856,  1  :  6  vttoko- 
pi(T/jio<;  Xap^dverai  rov  yeXoiov  ^dptv,  &)?  to  Hpia/ivXXLOV  6 
TlpiaiMo^,  and  in  Cram.  Anecd.  Oxon.  4,  254 :  yiverat  Se  rd 
viroKopiaTLKa  Bed  yeXoloVj  w?  re  irapd  'ETTti^ap/xco  YlpLap^iXXv- 
Bptov, 

BolotlScov  Ach.  872.  In  a  jovial,  sportive  way  Dicaeopolis 
thus  addresses  his  ^  little  bread-eating  Boeotian.' 

Aa/u-axiTTTrLov  Ach.  1207.  The  poor  man  Lamachus  is  raised 
to  the  nobility  by  the  addition  of  the  aristocratic  name-element 
-tTTTTo?  (cf.  Nub.  63-4),  only  to  be  degraded  at  the  next  moment 
by  the  familiar  dim.  suffix  -covj  and  so  made  ridiculous.  ; 

A  few  scattered  instances  of  dim.  of  contempt  in  Latin  : 

PraedonuluSy  coined  byCato  ap.  Fest,  242  M.  for  the  comic 
effect. 


28     Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments, 

Lacrimula,  Laterensis  ap.  Cic.  Plauc.  31,  76,  ^  your  little  tear/ 
'your  crocodile  tear,'  is  ironical  and  depreciatory. 

Fulchelhis,  Cic.  Att.  1,  16,  10;  2,  1,  4;  2,  18,  3;  2,  22,  1. 
Clodiu<  Piilcher  with  his  girlish  face  had  no  claims  to  beauty,  cf. 
Cic.  In  Clod,  et  Cur.  fr.  5,  4  K.  The  irony  in  the  dim.  is  bitter. 
Nor  is  Se r (J iol us  '  darVm^  little  Sergius,'  Juv.  6,  105,  likely  to  wiu 

one's  love. 

Acriculus  Cic.  Tusc.  3,  17,  38,  is  a  comic  dim.  adj.  applied  to 
the  excitable  and  etlervescent  old  Zeno,  the  Epicurean  philosopher. 

In  Catull.  25  the  dim.  niedullula,  iniuluSy  moUicellus  (all  ciira^ 
elp.\  and  oriclUa  and  latusculicm  ridicule  the  effeminacy  of  Thal- 
lus;  and  the  comic  dim.  ernditulus,  aira^  elp,,  refers  to  the  same 
womanish  qualities  of  the  two  shameless  creatures  ("a  dainty  pair 
pedantic,''  Ellis)  in  Catull.  57. 

Beatulus  Pers.  3,  103  ''our  sainted  friend"  (Gildersleeve). 
Hypocorismos  derisum  significat,  says  the  scholiast. 

Metre. 

How^  far  the  metre  has  caused  the  use  of  the  diminutive  rather 
than  the  primary  form  of  a  word  or  vice  versa,  will  always  be 
difficult  to  determine.     As  one  examines  and  attempts  to  explain 
the  diminutives  in  Aristophanes,  he  feels  more  and  more  inclined 
to  the  belief  that  in  passages  where  no  good  reason  for  their  use 
can  be  assigned,  the  metre  is  to  some  extent  responsible.     This  is 
especially  true  of  those  words  whose  dim.  force  was  gradually  worn 
away  by  their  frequent  occurrence  in  the  daily  speech,  and  so  they 
became  practically  equal  to  their  primary  forms,  except  in  so  far 
as  dim.  always  retained  their  familiar  character.     To  say  that  in 
such  cases  Aristophanes  was  influenced  by  the  metre  in  his  choice 
of  word<,  is  not  to  say  that  he  was  a  slave  to  metre,  as  he  certainly 
was  not.     Two  forms,  not  essentially  different,  were  at  his  disposal, 
the  dim.  and  the  primary  form  ;  both  were  in  good  use  among 
the  people,  one  was  characteristic  of  the  popular  speech.     It  was 
natural  that  he  should  choose  the  one  best  suited  to  the  require- 
ments of  the  verse.     This  was  sometimes  the  one  and  sometimes 
the  other.     No  poetical  genius,  however  great,  could  contrive  to 
use  a  form  that  it  was  impossible  to  fit  into  the  verse.     Still,  in 


V 


Comic  Terminations  in  Aristopjhanes  and  the  ( bmic  Fragments.     29 

every  ir  stance  in  which  metrical  influence  is  suspected,  we  must 
not  fail  to  consider  the  possibility  that  the  poet  originally  intended 
to  use  the  very  form  that  was  employed ;  we  cannot  enter  into  the 
poet's  brain,  nor  can  we  always  say  positively  what  was  his  frame 
of  mind  and  what  his  feelings  were  when  he  wrote  the  one  form  in 
preference  to  the  other.  In  general,  however,  it  may  be  said  that 
dim.  were  more  suitable  to  the  rapid  metres  of  comedy,  because 
their  short  syllables  furnished  resolutions  of  the  metrical  feet. 

It  is  to  the  end  of  the  line,  more  than  to  any  other  place,  that 
one  looks  for  metrical  influence.  Nearly  one  third  of  the  dim.  of 
Aristophanes  are  to  be  found  here.  This  is  largely  due  to  the 
fact  that  the  dim.  in  most  cases  furnished  a  good  verse-close,  and 
hence,  where  convenient,  it  was  reserved  for  that  place.  Thus 
TraiSlop  is  found  altogether  42  times  in  Aristophanes,  and  in  31  of 
these  instances  it  comes  at  the  end  of  the  line ;  5  out  of  the  6  cases 
of  KcoSiov  in  Aristophanes,  and  5  out  of  7  examples  of  dpyvplSiov 
in  Aristophanes  and  the  comic  fragments  have  this  position.  But 
it  is  also  possible  that  the  suitableness  of  the  dim.  to  this  part  of 
'  the  verse  and  its  frequent  occurrence  in  this  position  induced  the 
poet  to  use  it  at  the  end  of  the  line  at  times  when  he  w^ould  proba- 
bly have  employed  the  primary  form  if  the  word  was  to  be  used 
in  any  other  part  of  the  verse.  This  at  any  rate  seems  to  be  the 
most  natural  explanation  of  Charon's  kcottlo)  in  Ran.  269,  when 
compared  with  his  kcotttjv  in  197,  cf.  199.  So  6vptov  in  PI.  1098 
may  be  compared  with  6vpa  in  1097  and  1101.  It  is  true  that 
KOTTTetv  rr)v  Ovpav  was  the  common  expression  for  knocking  at  the 
door,  and  some  may  hold  that  KaOlteiv  iirt  kcotttjv  also  was  proba- 
bly a  well-known  formula.  Be  this  as  it  may,  when  the  primary 
word  has  just  been  used,  it  is  most  natural  to  expect  that  a  refer- 
ence to  it  would  be  made  by  means  of  the  same  word  and  not 
the  dim. 

On  the  other  hand,  when  the  dim.  is  not  suited  to  the  end  of 
the  verse,  while  the  primary  form  has  the  proper  combination  of 
longs  and  shorts  for  the  verse-close,  the  latter  is,  of  course^  the 
form  employed.  Thus  \i]kv6o<^  occurs  15  times  in  Aristophanes, 
and  in  13  of  these  instances  (Av.  1589,  Ran.  1214,  1216,  1224, 
1227,  1231,  1234,  Eccl.  538,  744,  996,  1032,  1111,  PI.  810)  it 
comes  at  the  end  of  an  iambic  trimeter.     The  dim.  XtjkvOiov  is  not 


30     Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments. 

found  outside  of  the  Xt^kvOlov  a'wwXeaev  scene  in  the  Frogs.  Here 
we  expect  the  dim.  in  1216,  1224,  1227,  1231  and  1234,  since  the 
question  is  about  Aeschylus'  inevitable  XrjK^eiov  airc^Xedev,  but  in 
each  case  we  have  XiJKveo^  at  the  end  of  the  line  (iamb.  trim.). 
This  seems  to  indicate  that  in  these  two  words  little  difference  was 
felt  between  the  force  of  tlie  dim.  and  that  of  the  primary  word ; 
and  further,  the  use  of  the  primary  form  at  the  end  of  the  verse  on 
account  of  its  suitableness  to  the  metre,  when  the  dim.  is  expected, 
gives  us  an  additional  reason  for  believing  that  in  other  places  the 
opposite  is  true,  viz.  that  the  use  of  the  dim.  at  the  end  of  the  line 
is  sometimes  due  simply  to  the  requirements  of  the  metre. 

OdXriKlov  is  as  little  used  in  Aristophanes  as  Xi^icvOXov  and  for 
the  same  reason.     It  occurs  only  twice :  once  in  Ionic  rhythm, 
Yesp.  314,  and  in  Ran.  1203  it  is  purposely  used  at  the  end  of  an 
iambic  trimeter,  in  order  to  make  the  unusual  anapaest  in  the  sixth 
foot.    OvXaKo^,  found  7  times  in  Aristophanes,  is  better  adapted  to 
iambic  and  trochaic  metres,  and  comes  at  the  end  of  the  line  in 
Yesp.  1088  (catal.  troch.),  Eccl.  382,  820,  PI.  763.      Similarly 
e^l^cihiov  occnrs  but  3  times  in  Aristophanes,  while  e>/3a9  is  very 
common  (16  exx.).     In   most  of  the  instances  of  the  latter  the 
metre  would  not  allow  efx^dhiov  to  be  substituted,  and  in  the  few 
remaining  passages  it  favors  6>/3a9  decidedly.     In  Eq.  870  and 
872  the  dim.,  if  used  instead  of  the  primary  form,  would  give  an 
anapaest  in  the  second  and  fourth  feet  of  the  iambic  tetrameter. 
These  resolutions  are  exceedingly  rare ;  there  is  no  example  of  the 
latter  in  the  Knights,^  and  the  only  instance  of  an  anapaest  in  the 
second  foot  of  an  iamb,  tetram.  in  the  same  play  is  in  the  word 
aTTo^avSaXm?  Eq.  415,  416.     In  iambic  systems  in  the  Knights 
there  are  two  examples,  viz.  374,  445.     Of  these  374  falls  away 
if  we  accept  Bentley's  emendation. 

The  dim.  of  Xi^kvOo^,  OvXaKo^  and  e>/9a9  are  excluded  from  the 
end  of  the  verse,  and  are  rare  in  Aristophanes  in  comparison  with 
the  primarv  forms,  because  the  latter  are  better  adapted  to  iambic 
and   trochaic  rhythms.     On  the  contrary,  rpi^^ov  in  its  oblique 

1  This  and  similar  statements  are  based  upon  a  scansion  of  the  verses  of  the 
Knights  made  by  Dr.  C.  W.  E.  Miller,  to  whom  I  am  much  indebted  for  the 
loan  of  his  manuscript. 


Comic  Terminations  in  Aristophanes  and  the  (omic  Fragments.     31 

cases  is  not  suited  to  the  end  of  an  iambic  line,  while  rpt/BcovLov 
gives  a  very  good  verse-close.  With  one  exception,  PI.  842,  the 
dim.  of  this  word  always  comes  at  the  end  (cf.  Yesp.  33,  117,  PL 
714,  882,  897,  935),  and  the  primary  form  always  in  the  middle 
(Ach.  184,  343,  Yesp.  1131,  1312,  Eccl.  850),  of  iambic  trimeter. 
If  we  compare  irac  irathiov  at  the  end  of  the  line  in  Nub.  132  with 
the  regular  formula  as  shown  at  the  beginning  of  the  verse  in  Ach. 
395,  1097,  1098, 1118, 1119,  A  v.  57,  Ran.  464,  and  in  Yesp.  1307, 
and  also  with  iral,  tj/jll,  ttol  irac  in  Nub.  1145,  it  becomes  evident 
that  the  position  of  iraLhiov  was  the  catise  of  the  use  of  the  dim. 
form,  when  we  recall  the  fitness  and  frequency  of  iraihiov  in  this 
place.  Editors  wrongly  compare  Nub.  80  and  Ach.  404  where  the 
speakers  are  full  of  eagerness,  but  in  Nub.  132  Strepsiades  hesi- 
tates. The  dim.  TratSiov  is  used  purposely  in  Ran.  37  (cf.  Nub. 
1145)  to  make  a  contrast  to  the  large  size  of  Heracles,  who,  to 
Dionysus'  surprise,  is  acting  as  his  own  Ovpcopo^.  If  again  we 
examine  the  following  passages  in  which  dim.  at  the  end  of  the 
line  are  coupled  with  primary  forms  in  the  middle,  and  compare 
OpavLOv  Ran.  121  with  kclXw^  and  Oveia  124,  Oveihtov  PI.  710  with 
Oveia  719,  kl^cotcov  PI.  711  with  SolBv^,  and  rpt/Scopiov  Yesp.  33 
with  /SaKTrjpla^  it  is  a  fair  inference  that  their  place  at  the  end  of 
the  line  is  to  some  extent  responsible  for  the  diminutives. 

Consider,  in  conclusion,  a  few  examples  of  the  influence  of  the 
metre  on  the  choice  of  words  in  other  parts  of  the  verse.  TrepiKo/jL- 
/liiTLov  fits  well  into  the  anapaestic  metre  of  Eq.  770,  just  as 
TrepLKo/i/ia  suits  the  iambic  system  in  Eq.  372.  Both  are  used  by 
the  Satisage-seller.  If  they  exchanged  places,  Trepcfco/jL/jLaatv  would 
give  an  impossible  iamb  in  the  fourth  foot  of  770,  and  Tre pi/co/jLfidrt' 
would  put  an  anapaest  in  the  second  foot  in  a  system  of  iambic 
dimeters,  of  which  1.  445  is  the  only  example  in  the  Knights.  In 
iambic  trimeter,  however,  this  is  readily  allowed,  cf.  irepiKOfi/jLaTLcp 
in  Athenio  fr.  1,  vs.  31.  Though  it  is  possible  that  the  dim. 
lo-^f^hLa  PI.  798  was  intended  to  convey  contempt,  yet  it  undoubt- 
edly fits  the  metre  better  than  la')(aha^  would  (cf.  laxd^(j^v  ^^^)i 
and  furthermore  makes  a  jingle  with  TpcoydXta.  In  Av.  615 
TrptvLSiotf;  is  coupled  with  OdfjivoL^ ;  irpivoL^  would  correspond  with 
it  better  but  does  not  suit  the  anapaestic  verse  nearly  so  well  as 
the  dim.  does.     After  ^evydptov  A  v.  582  one  might  expect  to  find 


i 


32      (  omic  Terminations  in  Aristophanes  and  the  Comic  Frar/ments. 

m-po^drtovy  but  TMv  Trpo/BaTLcov  could  not  be  gotten  into  the  verse ; 
on  the  other  hand  ^evyaplcoi'  and  /BoiSaplo)  585  are  very  well 
adapted  to  the  anapaestic  metre.  In  the  same  way  dfiTreXia  and 
KrvKihia  suit  the  paeouic  rhythm  of  Pac.  5U7-8  (of,  557,  575) 
admirably.  A  rope  rather  than  a  cord  {KoXcphiov  Vesp.  379)  is 
needed  to  support  the  body  of  our  friend  Philocleon  (cf.  Ran.  121), 
and  yet  rov  kciXcov  does  not  fit  into  the  verse. 

These  examples  indicate  that  the  reason  for  the  use  of  the  dim. 
is  often  to  be  found  in  the  metre,  and  that,  especially  in  the  case 
of  familiar  objects  of  daily  life,  the  choice  between  the  dim.  and 
the  primary  form  was  frequently  determined  by  the  kind  of  verse, 
that  iorm  being  selected  which  best  suited  the  metre,  provided  it 
did  not  do  violence  to  the  meaning  intended. 


CHARACTER  NA:MES. 

The  Greeks'  love  of  nicknames  is  remarkable.     Physical  pecu- 
liarities  and   deformities,  daily  occupations,  traits  of  mind   and 
character  are  all  the  sources  of  the  names  which  they  applied  to 
one  another.     Their  bright,  quick  intellects  at  once  seized  upon 
anything  faulty  or  ridiculous,  or  any  striking  characteristic  of  a 
man,  and  derived  from  it  a  nickname  with  which  to  banter  him, 
cf.  Auaxandr.  34  and  Ar.  Av.  1291  sqq.  (v.  Kock).     There  was 
much  fun  in  this  and  the  comic  poets  indulged  in  it  freely,  so  that 
an  ancient  treatise  on  comedy  (Tzetzes,  Proem,  in  Ar.,  Philol.  46, 
10)  speaks  of  the  addition  of  a  nickname  to  a  proper  name  as  the 
fourth  kind  of  comic  diction.     In  order  to  give  these  epithets  the 
appearance  of  real  names,  the  comic  poets  and  others  who  invented 
them  emploved  the  usual  name-forming  suffixes  that  were  added 
to  the  shortened  forms  of  proper  names,  chiefly  -cov,  -Uov,  -co,  /a?, 
-a?  and  -af— endings  that  were  felt  to  be  material  set  aside  spe- 
cificallv  for  use  in  name- formation.     Similar  character  names  in 
English,  e.  g.  Shorty,  Fatty,  Reddy,  show  a  preference  for  the 
termination  -y.     Since  these  names  point  out  and  hold  up  to  view 
a  man's  defects  and  shortcomings  as  well  as  the  qualities  that  he 
has  in  excess,  the  eifect  they  ])roduce  is  ridicule,  and  consequently 
the  suffixes  acquired   a  derisory   or  contemi)tuous   force.     Now, 
diminutives  likewise  have  this  force  at  times,  and  so  the  two 


Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments,     33 

classes  of  words  were  confused,  especially  since  both  were,  in  a 
sense,  pet-names  (Kosenamen)  and  belonged  to  the  familiar  inter- 
course of  daily  life.  Scholiasts  and  grammarians  frequently  show 
by  their  remarks  that  they  regarded  character  names  as  diminu- 
tives. See  in  particular  A.  G.  B.  856,  30  sqq.  While  the  gulf 
between  the  two  is  not  impassable,  yet  it  must  be  noted  that  the 
fundamental  idea  in  all  dim.  viz.  that  of  smallness,  is  absent  in 
character  names,  that  the  sets  of  suffixes  used  in  the  two  cases  are 
in  the  main  different,  and,  most  striking  of  all,  that  while  dim. 
have  about  the  same  meaning  as  their  primitives,  the  great  majority 
of  character  names  differ  in  signification  from  the  words  from 
which  they  are  derived,  cf.  yda-rpwv  from  yaaryjp. 


'Ci)V 

By  the  side  of  adjectives  in  -o-  stand  substantives  in  -wv- 
(nomina  agentis)  denoting  a  person  who  possesses  the  quality  in 
question  in  an  unusual  degree,  e.  g.  arpafSoi;  {crrpecj^ci))  '  squint- 
ing,' aTpdjBcov  '  squinter.'  The  adj.  is  of  general  application,  the 
subst.  has  a  special  use  in  that  it  is  limited  to  those  individuals 
who  have  this  particular  characteristic  (Osthoff,  I.  G.  Forsch.  2, 
36  sqq.).  Hence  words  in  -cav-  with  their  substantive  nature  and 
individualizing  force  are  well  adapted  for  use  as  nicknames,  and 
nicknames  belong  chiefly  to  the  sermo  vulgaris.  The  termination 
became  very  productive  later,  especially  in  Latin,  being  added  to 
both  nominal  and  verbal  stems.  As  a  name-forming  suffix,  attached 
to  the  shortened  forms  of  proper  names,  it  is  extremely  common, 
cf.  Pape,  Worterbuch  d.  griech.  Eigennamen,  S.  xx,  and  Fick, 
Griech.  Personennam.  S.  xxiii  sq. 

yXvKcov  Eccl.  985  *  my  sweet.'  For  the  irony  cf.  jXvkv^  in 
Plat.  Hipp.  Mai.  288  B,  and  Ruhnken,  Lex.  Tim.  s.  v.  rjBv^  on 
p.  111. 

y\i(jXP(*yv  Pac.  193  'greedy-gut,'  cf.  yXiaxpo^  1.  482. 

(TTpd/3(ov  aSeo-TT.  334,  quotcd  by  Poll.  2,  51  from  New  Comedy  as 
opposed  to  the  common  form  arpajSof;. 

Kvprcop  '  hunchback,'  from  Kvpro^  ^  curved,'  is  a  name  that 
the  witty  old  Cynic  philosopher  Crates  applied  to  himself  in  an 
epigr.  ap.  Diog.  L.  6,  92.     Menand.  117  refers  to  him. 


34     (omic  Terminations  in  Aristophanes  and  the  Comic  Fragments. 


ry\dfx(ov  Ran.  588  (cf.  Lysias  14,  25),  Eccl.  254,  398,  Eupol.  9, 
by  the  side  of  yXafx-vpo^  ^blear-eyed,'  from  yXafxdo),  cf.  \7]/jidco, 
Xyj/uLJ], 

KavOcov  Vesp.  179  is  the  individualizing  substantiv^e  as  com- 
pared with  the  adj.  KavO-i]\io<;.^  KcivO-apo^  ^beetle'  is  also  de- 
rived from  the  same  root  kandh  'bend,'  'curve,'  cf.  Prelhvitz. 
This  makes  the  word-play  easier  when  in  Pac.  82  Aristo])hanes 
substitutes  kcivOcov  for  KcivOape^  as  if  it  were  a  nickname  for  the 
beetle.  But  kcwOwv  is  pro})erly  used  o^"  a  pack-ass,  cf.  Eust.  1625, 
40  and  schol.  Pac.  82,  and  no  instance  is  found  in  which  it  is 
applied  to  a  beetle.  The  similarity  of  KcivOapo^  and  kuvBwv^  Try- 
gaeus'  use  of  the  beetle  as  a  beast  of  burden,  and  the  popular  notion 
that  the  dung-beetle  sprung  ex  asinino  stercore,  must  have  connected 
the  two  words  closely  in  the  minds  of  Aristophanes'  hearers. 

afcircov  (=  daOevT^^;'  d^Lo^  ovhevo^  Phot.)  Pherecr.  232,  a  word 
of  uncertain  origin,  probably  belongs  here.     Cf.  ^Kir-aXoi  Eq.  634. 

ydaTp(i)i>  Ran.  200  '  pot-belly,'  less  dignified  than  yaarpcoSyj^; 
Pint.  560.  From  yaa-r/jp,  as  <f)vaKOiv  from  (j>vaKrj.  Diog.  L.  1,  81 
reports  that  Alcaeus  called  Pittacus  (^vaKoyva  Ka\  ydarpayva,  on 
iraxv^  ^V-  Ptolemy  VII  also  was  named  ^^vaKwv  (Polyb.  34.  14  ; 
Pint.  Coriol.  11).  Tdarpwv  is  the  name  of  a  play  of  Autiphanes, 
and  occurs  as  a  character  name  in  Herondas  5.  Similar  nicknames 
are  kotvXoov  (fr.  fcorvXri)  'tippler,'  and  yvddcov  {ovBep  dXXo  o)v 
T)  yvddo^,  cf.  yvdOov  hovXo^  Eur.  fr.  282,  5  N.)  a  common  name 
for  a  parasite  in  New  Comedy,  cf.  Ter.  Eun. 

TToaOwv  Pac.  1300,  ^fenand.  480.  The  name  is  due  to  the  large 
size  of  the  ttoo-Otj,  v.  Nub.  1014  with  schol.  Lucian  borrowed  it 
from  comedy  in  Lex.  12  TredjBrj  Kal  iroaOwva,  In  like  manner 
from  adOr)  comes  adOajv  Teleclid.  65  (=  vTroKopca/jua  TraiSliov 
dppevcDv  Phot.),  a  name  given  to  Plato  by  Antistheues,  according 
to  Ath.  220  e.  dvhpoadOm'  aSfo-T.  932  is  explained  as  fieydXa 
evwi'  alhola  and  dvSpos'  alSola  exwv  in  A.  G.  B.  394,  5  cf.  1.  27, 
Hesych.  and  Suid.  Ky]Xoiv  Cratin.  321,  from  kyjXov,^  is  used  of 
the  lustful  god  Pan.  KrjXcov  Xeyerai  6  Oep/xoi;  et?  avvovaiav  Etym. 

1  Vid.  Schol.  Plat.  Symp.  221  E. 

2  Prellwitz  sugjjests  a  derivation  that  separates  Ki]\wv  'swing-beam'  from 
Ki)\o:v  'stallion,'  connecting  the  latter  with  O.  H.  G.  skelo,  M.  H.  G.  schellec, 
schtrl,  Lettic  schktlis. 


Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments.     35 

M.  510,  51.  Of  the  same  kind  are  yfrcoXcov  (from  yjrcoXr],  cf.  yjr(oX6<;)y 
fivprcov  (fivpTov),  adpcov  (aalpco),  crpiophwv  {afiophovv  =  coire,  cf. 
Hesych.),  ypdacov  [ypdao^),  irophcov  {irophi]),  k.  t.  X. 

ariycov  Ar.  fr.  97  (irom  ariXw,  cf.  arcyfiarla^),  iriScov  Id.  fr.  837 
(from  TTeSr],  cf.  TreS/jTrj^),  TpiTreSwp  (v.  Mein.  2,  974),  oylrcTreScov 
Menand.  1049,  and  Kevrpojv'  Ar.  Nub.  450  (Kevrpov)  atflagrio, 
restioj  verbero,  are  all  names  of  slaves,  derived  from  punishments 
inflicted  on  them. 

The  following  nicknames  were  coined  to  serve  as  proper  names  : 

Kavacov  Cratin.  349  was  coined  by  Cratinus  (Hesych.),  perhaps 
in  the  proverb  y:a6aa)p  NavKpdrT]  'tit  for  tat'  (Suid.).  It  is 
borrowed  in  Eq.  1309  (Mein.). 

'Jx^^^^  Teleclid.  8.  "  Nomen  a  poeta  fictum,  fortasse  ut  tempus 
fabulae  significaret  paullo  post  diluviem  Deucalioneam  cogitandum 
esse."     Kock. 

"Oylrcov  Alex.  97.  The  name  shows  the  character  of  its  possessor, 
who  is  one  of  rcov  exovrwv  ovoixara  oyjrwv  Kal  cnriwv, 

iS.ovXoiv  dSeo-TT.  74.  The  musician  Philoxenos  of  Cythera  was 
so  named  after  he  became  a  slave. 

Kep^iov,  Lucrio,  in  the  expression  KepBcou  ya/xet  (dSeaTr.  761). 
V.  Herond.  6  and  7. 

UXovTcov  Pint.  727.  If  the  text  is  sound  (v.  conjj.  Mein.  Vels. 
Hold.),  the  god  of  riches,  elsewhere  Plutus,  is  here  called  'Sir 
Croesus.'  ^  This  manner  of  speaking  suits  Cario's  character  and 
previous  conversation.  The  scholiast  supports  this  passage  with 
two  fragments  (251,  261  N.)  from  Sophocles'  satyr  (?)-drama 
Inachus,  in  which  UXovrcov  is  used  for  nXoOro?. 

For  character  names  in  -o  -onis  in  Latin,  see  Osthoff  1.  c.  S. 
58  sqq.  and  the  literature  given  by  Stolz,  Histor.  Gram.  d.  lat. 
Spr.  I^,  491  sq.  including  Fisch,  Die  lat.  nora.  pers.  auf.  -o  -onis. 


•LdV 

Words  in  -Icov-  bear  the  same  relation  to  stems  in  -co-  that  sub- 
stantives in  -COP-  bear  to  adjj.  in  -o-.     Just  as  in  the  epos  the  indi- 

^  Found  also  in  Soph.  fr.  306  N.^:  fxaa-nylai,  Kcvrpccvcs,  aWorpiocpdyoL. 

^  For  the  contrary  change  of  U\ovrwv  to  IWovtos,  cf.  Fritzsche  on  Thesm.  299. 
"  Quod  si  tamen  aliquando  hi  dei  temere  inter  se  misceri  videntur,  jocandi  con- 
silium satis  manifestum  est."    Fr. 


'  f**^ 


36     Comic  Teiminations  in  Aristophanes  and  the  Comic  Fragments, 

vidualizing  -cov  at  first  united  with  adjj.  in  -to?  Ui^ed  patronymically 
(cf.  TeXa^coi'to?  Ai'a?)  to  make  the  patronymic  ending  -icov  (Ost- 
hotf,  1.  c.  S.  49  sq.),  and  then  -ccop  afterward  became  an  independent 
patr.  suffix,  so  in  the  language  of  daily  life  and  of  comedy  words 
in  -c(s)v  arose  for  the  most  part  from  diminutives  in  -lov  and  the 
personal  suffix  -cov  (Fick  u.  Becht.,  Gr.  Pers.  S.  319).  Later  it 
was  added  as  an  independent  suffix,  mostly  deribive,  and  so  it  must 
be  regarded  in  the  case  of  the  following  three  names  that  are 
derived  from  adjectives. 

'ArrcKicov  Pac.  214  *'  master  Attic "  (Rogers).  axcoTrrei  to 
v7r€pr](f>avov  roiv  WOrjvaiwv  (schol.).  Lucian  Lex.  3  calls  a  slave 
WrriKtcova  in  order  to  ridicule  his  affected  Atticism. 

jjLaXaKtoiv  Eccl.  1058  has  a  caressing  effect ;  the  stem  ^aXaicQ^ 
means  '  faint-heart,'  cf  Xen.  Hell.  4,  5,  IG  ;  Thuc.  6,  13,  1. 

heCKaicpiwv  Pac.  193,  Av.  143,  cf.  SeiXuKpa  Pint.  973.  SecXa- 
Kpicov  =^  ctKpa)^  8€i\6<;,  SetXoTarof;,  KaKoSaL/jLOveaTaro^  (schol., 
Suid.). 

The  following  coined  names  show  the  character  or  occupation 
of  those  who  bear  them  : 

^Epyaaicov  Vesp.  1201,  from  epyovy  name  of  a  farmer;  KopaKicov 
Archipp.  27  (Kopa^  and  KopaKlvo^  =  kind  of  fish)  a  fisherman ; 
UaTavicov  Philet.  15  (Trara^r;  =  dish)  a  cook;  Kco^twv  {k(o/3i6^ 
=  gudgeon)  and  Kvprj^icov  (Kvprj^ia  =  ra  airoKaOdpfxaia  rov 
aiTov  Ulpian,  cf.  Etym.  M.  s.  v.)  Alex.  168,  and  Aayvvtcov  Ath. 
584  f.  {Xdyvvo<;  =  flask),  parasites. 

Callias  the  comic  poet  was  called  ^^ocviwv  {axotPo<;  =  rush- 
rope)  on  account  of  the  trade  of  his  father,  who  was  a  a-^^ocvo- 
irXoKOf;  (Suid.).  Cf.  restio.  From  Cratin.  324c,  Bergk  Comm. 
115-6  (cf.  Mein.  1,  213)  supposed  that  he  received  the  name  from 
Cratinus. 

'E/x/3a8/a)t'  Eccl.  633,  conj.  of  Heinsius  for  efx^aK  e^ft^v  of  K, 
indicates  one  who  wears  efi^aSa^  (v.  Isae.  5.  11 ;  Ar.  Plut.  759, 
Vesp.  447),  or  one  who  makes  them  (Hotib.).  Cf.  'E/x/3a8a9, 
schol.  Plat.  Apol.  18  B. 

'A\?;^fW  Lucian  Piscat.  19  'Sir  Truthful.'  Lucian  names  him- 
self Ilapp7)aLdBT)^  \W7}6:q)vo^  tov  ^^iXey^cKXeovf;, 

For  Latin  see  Osthoff,  Stolz  and  others,  as  above. 


Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments.     37 


.. 


ii 


■CO 


The  Greeks  were  very  fond  of  -w  as  a  feminine  suffix  added  to 
the  shortened  form  of  proper  names.  See  exx.  in  Pape,  S.  xx,  and 
Fick,  S.  xxii  sq.  On  the  analogy  of  such  names  of  goddesses  as 
'lao-w,  Aufw,  Bpt/Aw,  Aofw,  Tiepil^aa^,  k,  t.  \.  the  new  goddesses 
Awpw/  Aefw,^  and  'Efi(3Xd)  were  coined  by  the  comic  poet,  per- 
haps Cratinus  in  every  case. 

Acopoi  aufcoiriSiXe  Cratin.  69,  quoted  in  Ar.  Eq.  529,  is  the 
beginning  of  a  song  in  the  EvvelSac  of  Cratinus  (schol.),  and  a 
parody  on  an  old  poem  (Hesych.),  which  may  have  begun  with 
the  invocation  "Hpa  xpi^^oT^eSae  (Kock),  cf  Hes.  Th.  454,  952 ; 
Odys.  11,  604.  In  calling  on  Awpw  ("the  fair  Araphibribe," 
Frere)  avKoiriStXe  {'  fig-sandalled  one  ')  Cratinus'  purpose  was  to 
attack  the  evils  of  ScopoBoKia  and  avK0(l}avTia. 

Aefw  Cratin.  401,  also  a  goddess  of  bribery.  6  KpaTcvo^; 
a)vofjiaT07roL7]a€v  diro  rov  Sex^adat  S(bpa  Hesych.  See  Bergk 
Comm.  255.    Awpw  (active)  =  Bonona,  Aefw  (passive)  ==  Accipitra 

(Mein.). 

'E/zyS\w,  a  name  similar  to  Aa)/3w  and  Aefw,  is  preserved  by 
Hesych.  :  ^Efi/SXo)'  ireTrXaarat  irapd  to  i/jL/SXeTrecv,  ox?  y)  Acopd) 
Kal  Aefw.  On  account  of  this  derivation  Bergk  Comm.  69  con- 
jectured 'E/x/3\e7rw,  while  Lobeck  Proleg.  36  n.  36  on  the  contrary 
preferred  to  keep  'Ep^/SXay  and  correct  the  explanation  of  Hesych. 
by  changing  ip.^XeireLv  to  i/jL^Xrivat,  because  the  word  used  by 
those  taking  bribes  was  €fi/3aXe,  cf  efi^aXe  KvXXfj  Ar.  Eq.  1083 
and  schol.  The  latter  view  makes  'E/i^w  similar  in  meaning- 
it  was  already  similar  in  form — to  Acopco  and  Aefw  with  which 
Hesych.  compares  it.     Bergk  assigns  it  to  Cratinus. 

Masculines  in  -t?  do  not  as  a  class  belong  to  comedy.  It  is  true 
that  -69  is  a  name-forming  suffix,^  that  there  are  many  proper 

^  Found  also  in  C.  I.  G.  7460  and  C.  I.  G.  Graec.  Septentr.  1,  no.  1581. 
''C.  I.  A.  2,  no.  984,  col.  1,  line  11. 

3  For  its  possible  derivation  from  -los,  see  Fick  u.  Becht.  S.  24,  and  comp. 
Fick^  S.  xxvii,  Pape  S.  xviii. 

3 


38      Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments. 

names  in  -69,  and  that  appellatives '  arc  formed  on  this  analogy, 
but  they  are  by  no  means  confined  to  comedy.  Aeschylus  alone 
has  ry{jvvL^,  aivL^,  <TT6fjLc,,  Tp^x^^,  aud  Soph,  and  Eur.  use  about 
the  same  number.  Others  are  found  in  Find,  and  Theogn.  II 
Poll.  6,  130  says  that  ^Tp6(/)f9  (Nub.  450)  is  avnupv^;  Kcofiifcov, 
and  in  3,  136  that  Trra/c^?  {dSea-rr.  1127)  is  a4>6Spa  K(0fiiK6v,  this, 
as  Lobeck  points  out,  is  on  account  of  the  bad  signification  of  the 
words  themselves  and  not  because  of  any  comic  force  in  the  termi- 
nation.    He  might  have  said  the  same  of  ydarpL^;  and  ovoydarpi^. 

The  suffix  -ta?  is  common  from  classic  times  on  as  a  formative 
element  in  proper  names  and  character  names.     It  seems  to  have 
grown  out  of  the  old  suffix  -to9,  largely  upon  Greek  soil,-  ^the 
change  to  the  longer  a  being  accompanied  by  a  si^ecialization  ^  of 
meaning  (cf.  -tov,  -Icov),  which  limited  its  application  to  persons 
who  had  some  quality  in  excess.     This  fitted  it  for  use  in  proper 
names  and  terms  of  reproach.     The  frequency  of  -la?  attests  the 
readiness  with  which  the  Greeks  turned  to  this  ending  in  preference 
to  others  in  making  character  names.     Since  they  gave  names  to 
various  objects  around  them  as  well  as  to  persons,  the  personal 
suffix  -ia9  by  an  extension  of  use  was  added  to  the  names  of 
animals,  winds,  wines,^  etc.  also ;   and  so  it  came  to  have  a  free 
and  wide  use,  but  it  always  retained  to  a  greater  or  less  degree  its 
function  as  a  name-forming  suffix.     This  preference  for  it  brought 
it  into  new  spheres  of  literature,  e.  g.  eKTo^iia^,  eri\vhpia<=:  Hdt., 
rrravaavia.  Soph.,  rpavp^aria.  Find.,  but  for  the  most  part  these 
forms  belong  to  comedy^  because  of    their   mockmg  character. 
Note  the  common  words  fiaanyta^  and   (TTLyfiarla^  with  their 
cpds.  SfjLOfMaariyias  Ran.  756  and  y}revBocTTLyfMaTLa,.    The  examples 
cited  occur  chiefly  in  Aristophanes,  Cratinus  and  late  writers. 

j3ahc<7fiaT[a^,  coined  by  Cratinus  (fr.  392),  cf.  ^aScarv^,  is  pre- 
served by  Foil.  3,  92  who  quotes  it  by  the  side  of  Aristophanes' 

1  Curt.  Stud.  9,  176  sq.  '  Fick  u.  Becht.  S.  25. 

3  Curtius,  Grundz.  d.  gr.  Etym.*  S.  628,  Osthofi"  2,  63  sqq. 
*  Curt.  Stud.  9,  183  sq.  '  ^ei"-  4,  639. 


(  bmic  Terminations  in  Aristophanes  and  the  Comic  Fragments.     39 

fiaSLarcKo^  '  walkist.'  Cf.  (TO(f)L(TfiaTia<;  '  sophist '  and  others 
similarly  formed  from  abstracts  in  -yLta,  in  Curt.  Stud.  9,  183. 

7rtcr(roKcovia<;''Aprj^  Cratin.  364,  a  conj.  of  Bergk  Comm.  255 
for  TTLo-o-oKovia^  {gen.?)" Apr]v,  is  war  that  results  in  the  torture 
of  being  pitched  and  burned  alive.  If  the  reading  is  correct, 
Kock  thinks  that  this  coinage  of  Cratinus  is  aimed  at  Trtao-oKO). 
vrjTo^  TTvp  of  Aeschylus  fr.  118  Nl 

TTcoyaivia^  Cratin.  439  =  Trcoycovo^  v'7ro7rtfi7r\dfi€vo<;  Foil.  2,  10, 
or  evTTwycov,  SaavTrcoyov  Foil.  2,  88.      Cf.  Trcoyoovialo^. 

o-xt^la^  Cratin.  447  =  '  thin  as  a  lath  (<T;3^tfa),'  '  lathy,'  6 
reravo^  kuI  Igxvo^  Fhot.  axi'C,o-uhy]<^  would  be  parallel  in 
meaning. 

e>ia9  Eupol.  412  (=  o  ifieTLKo^  77  evefxr)^  Eust.  996,  39)  is  used 
iirl  TOV  Kaico(f)(ovov  which  Nauck  ap.  Mein.  ed.  min.,  p.  x,  explains 
as  one  '^qui  non  pronuntiet  verba  sed  eructet  et  vomat." 

airoyyia^  Ar.  fr.  856,  cf.  Mein.  4,  647,  '  one  who  uses  sponges 
to  excess.' 

Animals,  winds,  wines,  etc.  personified : 

6po(f>[a^  is  a  kind  of  snake  that  lived  under  the  roofs  {6po(f)7]) 
of  houses,  cf.  Eust.  1448,  63,  Hesych.  s.  v..  Poll.  7,  120.  In 
Vesp.  206  the  name  is  transferred  to  the  rafter-haunting  heliast 
Fhilocleon.  Merry  translates  '' roofster."  Cf.  v7ra)p6(j)to<;,  opo- 
<j)tatoii,  6po(f)iK6(;. 

KOTTTraTLa^  Nub.  23,  438,  fr.  42  {=  K07nra4)6po<^  Luc.  Indoct. 
5),  a  horse  branded  with  Koirira. 

(JvKo<^avTia<^  Eq.  437.  For  names  of  winds  in  .id^  see  Blom- 
field  Aesch.  Cho.  p.  201.  In  the  nautical  language  of  Eq.  430- 
41  Aristophanes  introduces  after  the  wind  KaiKia^  (ENE)  a  new 
one  of  his  own  invention  GvKocf)avTLa<;,  thereby  alluding  irpo^  ttjv 
avKoc^avriav  Kal  KaKiav  of  Cleon.  opvcdla^  is  not  a  coined  name 
in  Ach.  877  (v.  Dind.  et  al.).  opviOlai  dve/iot  are  spring-winds 
that  brought  the  birds  of  passage  (Arist.  Meteor.  2,  5,  10;  Mund. 
4,  15  ;  Hipp.  1236  B) ;  x^^/^^^  opinOia^  in  Ach.  877  is  more,  it  is 
a  veritable  tempest  of  birds,  "  fowl-weather  "  (Walsh). 

craTTpia?  Hermipp.  82.    Elsewhere  mellow  wine  is  always  (Jairpo^. 
Here  the  suffix  -la?,  so  common  in  names  of  wines,  is  added. 

(TTTjfiovLa^  Cratin.  353,  in  place  of  (TTr]fi6vto<;^  is  applied  to  thin, 
stringy  curls.     Cf.  (tttj^jlcov  i^eafievo^  Ar.  fr.  728. 


40     Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments. 

Proper  names  : 

K«^.m.  Vesp.  151,  Cratin.  334.  Philocleou  tries  to  escape 
throu.^h  the  chimney  like  smoke  (Vesp.  144,  140)  and  hence  is 
called" 'Old  Smokv.'  The  hearer  may  have  thought  secondarily 
of  .aTTVo,  as  a  symbol  of  unsnbstantiality  and  idle  vapor, ngs,  and 
of  the  ^vine  Ka^via,  because  it  was  the  festival  of  Diouysi^s.  The 
same  name  was  given  to  the  comic  poet  Ecphantides  by  Crat.nus 
perhaps  (Ber^k,  p.  C7),  either  on  account  of  his  old-iash.oned  and 
obsolete  methods  {6  ^aXaih,  olvo,  =  Kairvia,  schol.),  or  because 
of  his  obscuritv  {Bia  rh  M^kv  Xa/xTrphv  ypa4>en'  Hesych.)-  _ 

'Aavvia,  Eq.  570  is  a  proper  name  used  with  its  etymological 

signification  in  place  of  a^.vv7CK6<,.     Ar.  is  iond  of  playmg  on  the 

mtaniug  of  proper  names,  cf.  infra  p.  49.     See  also  A'.ea-.a.  to. 

TTpco/cTO.  Idcraro  Ar.  fr.  905  C-Uema,  avTi  rov  iarpo,  A.  U.  B. 

371    19),  and  Beivorepa  Seiviov  in  uSea-n:  559. 

Mvia,  Nub.  1162,  the  well  known  name,  has  the  meaning 

(=  X6C0V  ra,  ToO   Trarpo.  avla,    schol.)  and  case-relat.ons  (toll. 

by  c^en.)  of  an  ordinary  appellative,  and  hence  it  is  so  written. 

Teuffel  regards   it  as  a  parody  on  a  similar  use  of  Xvaaina,  in 

tragic  poetry,  like  Sophocles'  ^avaav^a,  fr.  801  N.^  cf.  Bakhuyzen 

^"  The  uBia^ora  in  Kock's  Fragmenta  contain  the  following  forms 

in  -!"? : 

Trpajfiarla^  894  =  o  Trpayixara  irapex^v. 
AiXovpayfiaria^  841  for  <}>cXoTrpdy,xw,'. 

yepavia,  970  'Crane  Neck.'     St^^Oepia,  985,  cf.  Poll.  4,  1-57, 
'  Leather   Breeches   (!).'       XeoK.Traria,    1072,    Lobeck    compares 
"  pigeon-livered."     arpovd^a,  592  (^rpou^o^)  '  homo  libuhnosus 
Alein.  cf.  passer  in  Juvenal. 

irparia^  W^'^  for  Trpar^jp  or  Trparr;?  (v.  Curt.  Stud.  9,^181)  is 
cited  by  Poll.  7,  8  alongside  of  ttwXt?*?  for  ircoXrn/]^  in  xVr.  Eq.  131, 
133  140,  as  belonging  to  comedy.  roX/xvrla^  1166  (=  roXfirjpo^ 
Pho't.)  for  ToXMTri^'     civacj^aXavrla,  1440  for  avact>aXavTO,. 

Kepavvia,  1359  (=6   KeKepavvo^^evo,  Hesych.)  for   KepavvLO, 
cf  Mein.  4,  639,  Lobeck   Proleg.  498.     Kock  thinks  it  possible 
that  Hesych.  was  explaining  Kepawla  in  Soph.  Ant.  1139,  and 
hence  doubts  the  form  in  -U'l^. 

Note  in  addition  ^vvaiKia^,  KOirpla^,  rrKorla^,  rapa^ia^,  reparian. 


4   ^    ^ 


C 


Comic  lerminations  in  Aristophanes  and  the  Comic  Fragments,     41 

-  1 

Tlie  old  suffix  -to9,  added  to  the  stems  of  i)roper  names  ending 
in  e,  gives  rise  to  -eto?  ;  from  this  comes  -e/a?,  as  -/a?  from  -lo^ 
(Fick).  -eia^  changes  to  -ea?,^  and  -ea?  is  finally  contracted  to 
-a?  which  is  the  form  that  ap])ellatives  take.  Most  of  these  words 
in  -«9  are  either  vulgar,  post-clas.sic  or  of  foreign  origin. 

Ap])ellatives  are  chiefly  low  and  scurrilous  nicknames,^  found 
in  the  conversation  of  only  the  meaner  sort  of  people,  cf.  ^^cr^?. 

(baya^  Cratin.  451  'hog,'  cf.  ci>ay6^,  cf^dycop.  Hdn.  1,  51,  8  L.  : 
eiTL  aK(OfMfiaT0<;  raaaofjieva  (jiayd<;  Kal  tcaTac^aya^. 

Karacf^aya^  Myrtil.  4,  Menand.  424.  (f^aya^  means  one  who  eats  to 
excess.  This  meaning  does  not  admit  of  being  strengthened  further, 
and  it  is  useless  to  try  to  add  to  its  force  by  strengthening  with 
Kard  the  verb  (^ayelv  from  which  it  is  derived.  Consequently, 
Pnrynichus,  p.  433,  condemns  Karacfiayd^,  while  he  allows  cj^ayd^. 
See  Lobeck's  oft-quoted  explanation  (p.  437)  in  which  he  com- 
pares Latin  edax  and  vorax,  as  over  against  coinedax  and  devorax, 
which  do  not  occur.  Poll.  6,  40  says  that  KaTa(f)ayd<;  is  altogether 
bad  {irafxiTovTqpov),  even  though  it  is  found  in  Aeschylus  (fr.  428  N.^). 

KaTM(f)aya<i  Av.  288,  289  is  not  open  to  the  same  objection 
(Kdrco  =  down),  and  one  should  not  confuse  it  with  Kara(t>ayd<;, 
as  Kock  does.  It  seems  to  be  the  invented  name  of  a  bird  (cf. 
aTTayfi^,  eXea?,  TrtXe/ca?,  iXaad^,  ^aaKd^),  to  which  Cleouymus 
(cf.  E(j.  1290-9)  is  compared  on  Kdrco  vevoov  erpayye. 

Kopv^ds  Menand.  1003  =  o  la^ypM^  fcopv^wv  Suid. 

aapvd<; '  Cratiu,  337  (from  aalvw)  =  6  /xwpd?  Eust.,  Phot.  Cf. 
aavviwv,  sannio. 

rpeads  (=  o  rpeaa^)  in  comedy  corresponds  to  epic  (J^v^tjXk;,  says 
Eust.  772,  12.  Cf.  Eust.  1000,  11  :  60ev  Kal  tk;  iv  WO^jvatoc^; 
€7rl  SetXla  Ka)fi(pSov/j,€vo<;  rperrd^;  eKaXelro,  KaOci  Kai  ri^  erepo^ 
Scdppoiav  TrdfTxcov  yaarpo^,  X^^-a?  eXiyero.  Other  words  are 
7reXXd<;  {-TTepiaTTdraL  iirl   aKwp/xaro^  6v  Arcad.   22,  cf.  7reXX6<;), 

^See  Theodosiiis  ap.  A.  G.  B.  1186,  Lobeck  Phryn.  433  sqq.,  Chandler,  Greek 
Accentuation-  p.  7  sqq. 

See  exx.  in  Fick^  S.  xxxvii  sqq. 
Plebeji  sermonis  propria  blandimenta  "  Lobeck.    "  Verba  quae  in  -as  termi- 
nantur  hominibus  humilibus,  abieclis,  sordidis  conveniunt."    Bergk  Comm.  p.  72. 
*So  Fritzsche  and  Fick.     Mein.  and  Kock  keep  adwas. 


2 

3  « 


4     m  ^ 


42     Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments. 

SaKvd^  (ef.  8aKvr]p6^),  Xapvyya^  (cf.  \apu7709),  c^a/c^?  (Sia  rov^ 
iirl  Tr}<;  oyjrecos;  (^aKOv^  Suid.),  Keparci^  (from  /cepa?). 

Shortened  forms  of  proper  names  with  this  ending,  e.  g.  Zr)va<^ 
=  6  Zi)v6ho)po^,  ^hjrpch  =  6  yi7]Tp6S(Dpo^  (v.  A.  G.  B.  857,  1), 
were  restricted,  according  to  Lobeek  Phryn.  434,  to  the  vernacu- 
lar and  i)lebeian  speech.  BaKxa^  Soph.  fr.  613  N."  (=  BaKX€VTd<; ' 
schol.  Soph.  Philoct.  1199)  tlien  is  an  exception.  From  this  one 
may  conclude,  says  Lobeek  ^' significationem  rerum  sordidarum 
et  humilium  tunc  temporis  et  loci  huic  inclinameuto  nondum  ita 
inolevisse,  ut  poetis  non  aliquando  hue  descendere  liceret." 

Kovpd^  Cratin.  317,  Eq.  534.  In  a  parody  on  Hes.  Op.  •299 
Cratinus  called  Koi'z^o?,  the  famous  harpist  and  teacher  of  Socrates, 
by  the  contemptuous  name  Kovva^.  This  mockery  Aristophanes 
hurls  back  at  Cratinus  by  comparing  him  in  his  old  age,  not  to 
Kovvoi;,  but  to  Kovvd<;. 

'EyLi/SaSa?  Theopomp.  Com.  57,  a  character  name  of  Auytus,  the 
accuser^of  Socrates,  formed  Trapn  rcn;  e/jilSaSa^.     Cf.  supra  p.  36. 

MT/rpa?,  the  short  form  of  MrjTpoSrDpo^,  is  used  in  Antiph.  220 
because  of  its  close  similarity  to  fjLijrpav. 

Similar  to  short  names  in  -a9  are  those  in  -D9  : 

Siovv^  Phryn.  Com.  10  is  ''a  late  shortening  for  ^tovvao^'^ 
(Fick).  Dionysus  himself  or  some  efleminate  person  is  here 
addressed  (Mein.),  cf  Etym.  M.  277,  3  :  liovd<;'  6  yvvacKla^  kuI 
irdvOi^Xv^.  and  Hdn.  2,  859,  29  L.  :  eari  8e  Kal  rh  Xlovv^  irapa 
Tot9  KcofMLKoU  cttI  tov  eKXvTOV  jaaaofievop. 

Words  in  -af  with  long  a,  like  those  in  -d^,  are  terms  of  reproach 
and  vulgar  nicknames,  and  belong  to  the  lowest  sphere  of  the 
popular  language.  As  compared  with  forms  in  -af  with  short  a, 
e.  g.  f3M/^a(,  \[6a^,  Lobeek  Proleg.  448  says  that  the  freedom  of 
comic  and  plebeian  speech  coined  such  words  as  irXovrd^  OaXdfxd^ 
with  a  marked  difference  of  vowel-length,  cf.  Budenz,  Das  SuiHx 
-/CO?  in  Griech.  S.  72.  There  are  very  few  short  forms  of  proper 
names  in  -a|  (Fick). 

^  Bergk  Comm.  72  says  that  EaKx^s  is  for  Ba^xo^  as  Kovvas  for  k6vvos,  cf.  Atoj/Cy 
for  Ak^vuctos. 


*.. 


i 


^\k 


Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments.     43 

irXovra^  {=  0  irXovaio^),  from  ttXoDto?,  was  perhaps  coined  by 
Eupolis  159  and  borrowed  from  him  by  Menander  462  (Mein.). 
o  ^'  EtrTToXi^o?  irXovra^  ireiraiKTai  Poll.  3,  109. 

OaXd^a^  Ran.  1074,  derived  from  OdXafio^,  is  the  vulgar  form 
of  OaXafilTTj,-  or  OaXafit6^^  and  suits  well  the  tone  of  the  passage 
(v.  Trpoairaphelv). 

^vpct>d^  Vesp.  673  (from  avpcj^o^)  "the  scum  of  the  populace'^ 
(Rog.),  in  place  of  the  usual  word  avp^iero^.     It  is  the  name  of  a 
play  of   Plato  Coraicus  and   occurs   also  in   Luc.  Lex    4    Jun 
Trag.  53.  '       ^ ' 

(7To/.0r7f  Xub.  1367,  conj.  Gaisf  in  fr.  624,  from  ctt6^<j,o,  'a 
full  mouth,^  is  one  who  uses  mouth-filling  words,  cf.  aroficfyaaryj^. 
When  this  coarse  name  is  applied  to  the  lofty  Aeschylus,  Strepsiades 
grows  indignant. 

^  <TTu7r7r«-f  Ar.  fr.  696  (arvTTTrv  '  hemp '),  nickname  of  the  Athe- 
nian demagogue  Eucrates,  because  he  was  by  trade  a  arvTrTreco. 
TrdyXij^,  cf  Schol.  Eq.  129.  A  low  form  of  name  is  chosen  in 
order  to  make  his  calling  seem  more  humble.  Meineke  and  Kock 
refer  ozyoo-Ti^TTTra^  {aS,a7r.  94)  also  to  Eucrates. 

^IrlXd^  Ar.  fr.  891  =  yfrcXh^  Kal  Xelo^;  (Moer.,  Hesych.),  ==  yjriXo. 
K6ppr^^  (Fick).  Vulgar  name  of  one  who  has  a  bald  head  or  a 
beardless  flice.     Cf  Xeia^. 

vid^  Nicophon  10  =  P€apta^,  but  is  "more  comic,"  Poll.  2,  II. 

/iw/zaf  KaXodfiai  McSa^  (isean.  27)  is  given  as  an  illustration 
of  the  fourth  kind  of  comic  diction  (v.  supra,  p.  32).  fiwfia^, 
from  fiM/xo^,  seems  to  be  equivalent  to  ^ficDfir^r/]^. 
^^  dTTOTTdpSd^  ^B.an.  82.  Hesych.  has  dTroirapSaKa  (sic)-  tovto 
el'pr^rat  irapd  to  diroiraphelv.  Cf  x^'iaKa^  (x«o-^a>),  0Xz^af  {(i>Xvoy), 
trahax  (traho).     Kock  alone  keeps  diroTrap^aKa, 

(}>6pTd^  ^n.an.  102,  derived  from  (l)6pTo^^  is  used  in  place  of 
0opT7;7O9.  Poll.  7,  132:  cp6pTaKa^  tJ  iraXacd  Kw^cp^ia  tov^ 
dx07](j)opoduTa^  e/c  toD  efiTToplov   KaXel. 

i0d)fia^  {i5e<Tn.  966)  =  ^cofMo-Xdxo^  is  to  be  distinguished  from 

(fidad^  (dSe^TTT.  1186)  =  r7i;/co(/)azyT779  Hesych.  Cf  (/)aV^?.  See 
Ar.  Ach.  726,  A  v.  m,  1694. 

X^^yo.^  (is^o-T.  1195),  from  x^^^V^  is  more  suited  to  comedy 
{fcwfxcphKdiTepov)  than  ;^\6i;ao-T7?'9,  Poll.  9,  149.     Cf.  (j>Xva^. 


a     Comic  Ta-minations  in  Aristophanes  and  the  Comic  Fragments. 

foti-     Both  liters  probably  derived  it  fro.  son.  co,.,c 
Irce  in  Greek.    Ber,l<,  Opnse.  1,  5,  com,mes  ^op.^-XXaf.    Cf. 

^^Tr;:^::;::^""-St^i:.i:;u^^^^^^^^ 

M^Zau    cnve  utterance  to  two  words  in   -a?,  n.  wuch   -.|    s 

a  ded  :  ;.>:  .e.  ...nply  to  .nal.e  a  more  vulgar  w.r    :  a,,.a    .n 

-    '^        T-.     89'^   from    STmo?,   and   Trado-^?   Acli.    <o^    nuui 

.,,„.8-o.  ^q-  8^    f-    ^'^  ,'3,,^  64,  ,„a  see  Abrens,  Dial. 

o   .m   for  other  vubrar  forms  used  by  the  Megarian. 

p^.?  (P^.),  ..v.|  (.0,).  ^..-?  i^  f-^-i  -'y '"  F-i^'-- ''  ^^" 

where  always  0vvvo<;,  v.  Eust.  1  720,  bU. 

The  din,,  suffixes  also  serve  as  endings  of  short  names  of.  Fick ', 
,    '    ;      On  the  basis  of  such  na„,es  as  ^Apl.rvXXa,  Kp.rvXXa 
t  "-  !"*•  „     ,   ,  X      Aristophanes    coined    the    comic    appellative 

4>eivvXXa  m  Eccl.  935.     1  he  yj  11  ^^^     ^^ 

the  old  woman  in  answer  to  oXeOpe  {J6i,  ti.  <puop        1 

'^'  '''"'-■       ;.  ,„ed  o--  a  raven  in  Eq.  1053  only,  elsewhere  it 

.w:;:Ts:g;:atr:  :2Z. ....  l.  Lobeek  Pro,eg  2u 

hoU.  that  -i-phanes  changed  .^^^^^^  -/r-rirtolot 
oracle  to  KopaKwov,  for  the  comic  etiecr  1 

o-   n  phiracter-nanie  (cf.  Fick  ,  b.  xxxMj  iioiu 
upon  KopaKivo'i  a^  a  cuardnei  v 

Kopa^. 

PATRONYMICS. 

lu  the  tenth  book  of  the  Iliad,  when  Agamemnon  in  his 
anxiet  or  the  safety  of  the  Greeks  sends  Menelaus  to  summon 
;^^^x  nd  Idomeneus'to  the  council,  he  tells  hhu  to  name  each 
Jan  by  his  lineage  and  his  father's  name,  giving  all  then  dues 
of  honor  '  (Lang)  : 

^arpoOev  Ik  yeve^,,  6vOfi<it<ov  Sv^pn  eKaarov, 


Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments.     45 


The  addition  of  the  father's  name  or  that  of  an  ancestor,  or,  in 
the  case  of  the  better-known  characters,  the  use  of  the  father's 
name  witliout  the  name  of  the  son,  as  TuSeo?  vie  (vs.  159)  and 
TuBelSr]  (244)  in  place  of  Diomed,  brought  special  honor  to  a 
hero  in  that  it  called  attention  to  the  fame  of  his  house.^  The 
patronymics,  then,  that  are  found  in  such  abundance  in  the  Iliad 
and  Odyssey,^  confer  distinction  at  the  same  time  that  they  give 
a  more  exact  designation  of  the  individual.  They  belong  to 
poetry,  and  to  epic  ])oetry  ^  in  particular,  this  relation  of  son  to 
father  being  expressed  in  prose  by  the  genitive  of  the  father's 
name. 

The  common  patronymic  suffix  is  -8?;9.  This  is  believed  to 
have  had  originally  a  very  general  signification  such  as  belonging 
to  J  pertaining  to;  compare  the  patronymic  adjectives  in  -lo<;  among 
the  Aeolians,  Boeotians  and  Thessalians.''  Whatever  the  deriva- 
tion of  the  suffix,''  in  u.«e  these  patronymics  were  applied  to  sons, 
to  grandsons  and  to  descendants  in  general ;  they  became  the  names 
of  families,^  demes  and  races,  and  sometimes  of  the  followers  of  a 
great  political  or  religious  leader.  Finally,  patronymics  were  easily 
chan<:ed  to  andronymics  when  a  man  was  led,  through  pride  in  the 
achievements  of  his  father  or  some  ancestor,  to  adopt  a  patronymic 
in  preference  to  his  own  name ;  then  the  force  of  the  patronymic 
termination  w^as  to  a  great  extent  lost,  and  other  men  might  appro- 
priate this  as  they  would  any  other  proper  name. 

Outside  of  epic  poetry  and  its  imitations  the  chief  use  of 
patronymics  is  that  by  which  families  are  named  after  their  real 

^  a.  also  Hdt.  6, 14  ;  Thuc.  7,  69,  2 ;  Aelian  Var.  Hist.  6,  2  ;  and  Wachsmuth, 
Hellen.  Altertlmm.  1,  809. 

^Angermann,  De  Patronymicoriim  Graecorum  Formatione,  Curt.  Stud.  1,  1, 
p.  61,  has  counted  856  of  them  in  Homer. 

^For  patr.  in  parodies  of  the  Epos  see  Ar.  Eq.  1015,  1030,  1055,  1067,  1081. 
Bistrom,  Das  russische  Volksepos,  Zeitsclir.  f.  Volkerpsy.  u.  Sprachw.  5,  192,  says 
"Bei  jedem  Helden  linden  wir  dasselbe  (das  Patronymicon)  und  es  giebt  nur 
zwei  raerkAviirdijie  Ausnahmen." 

*Meister,  Dial.  1,  196  sq.;  Hoffmann,  Dial.  2,  588. 

'See  Arigermann  1.  c,  p.  6,  for  reff.,  including  Curtius,  Grund?.  d.  griech.  Etym.*, 
S.  568  sq.     Add  Leo  Meyer,  Bezz.  Beitr.  4,  7  sq. 

^Compare  family  names  in  -son  (English),  -sen  (Danish),  -ing  (Saxon),  -witz 
and  -itch  (Russian),  -ski  (Polish);  also  names  with  the  prefixes  Mac  (Scotch  and 
Irish),  O'  (Irish),  Ap  (Welsh),  Fitz  (Old  Norman). 


46      Comic  TeDiiinatlons  in  Aristophanes  and  the  Comic  Fragments, 


( 'omic  Terminations  in  Aristophanes  and  the  (  omic  Fragments.     47 


or  supposed  founder.^  This  gentilic  use  belongs  to  prose  as  well 
as  to  poetry.-  In  tlie  list  of  the  yem]  in  xVttioa  given  by  T(">pffer 
in  his  Attische  Genealogie,  tliree-fourths  have  the  patronymic 
termination  -Sai.  Just  as  the  priestly  family  of  the  ^vfjioXirlhai, 
which  derived  its  name  in  all  probability  from  the  excellent 
quality  of  its  singing  [ev  fiiXireaOai),  nevertheless  claimed  descent 
from  the  mythical  Eumolpus ;  and  just  as  the  members  of  any 
order  or  those  engaged  in  any  business  or  religious  worship 
properly  looked  upon  the  originator  of  the  movement  as  their 
progenitor  in  a  metaphorical  sense;  so  the  mutilators  of  the  Hermae 
were  called  'Ep/jLOKOTrlSai — by  the  comic  poets,  no  doubt — as  if 
they  were  the  descendants  or  followers  of  some  great  'Ep/xo/coTro*?. 
The  word  occurs  in  Ar.  Lys.  1094.  In  the  same  way  the  name 
\p€(OK07rL8ai  was  given  to  the  three  noble  friends  of  Solon 
(Pint.  Sol.  15,  cf.  Reij).  Gerend.  Praecep.  13)  who  ])rofited  at 
the  Seisachtheia  through  ti  previous  knowledge  of  his  projected 
reforms  which  he  had  imparted  to  them  in  confidence.  The  names 
Hermokopids  and  Chreokopids  were  all  the  more  appropriate 
because  the  men  to  whom  they  were  applied  belonged  to  the 
aristocratic  families  of  the  state,  the  W\Kjj.6(oinSai,  the  <t>i\aLBac, 
K.  T.  X.  A  similar  comic  formation  is  jBoyXoKOTTihai  which  is 
explained  as  ol  rrjv  i3ov\7]i'  KOTrrovre^,  rnairep  elai  fcal  Stj/xokottoi 
01  TOP  Sr)iioi>  KOTTTOvre^;  in  A.  G.  B.  221,  3.  Cf.  Kock  a^^earr. 
9G3  and  the  Thesaurus  s.  v.  Note  also  (^OeLpoKoirihrj^y  a  conj. 
of  Kock  for  (hOeipoKop-lhriq  in  aheair.  1188. 

Closely  allied  to  the  names  of  families  are  the  names  of  demes, 
for  many  of  the  demes  took  the  name  of  a  prominent  family  living 
in  them.^  This  is  especially  true  of  those  whose  names  end  in 
-hai,  of  which  there  were  32  at  least*  in  Attica.  These  traced 
their  orij^in  back  to  the  heroic  ancestor  from  whom  their  name 
was  derived  and  whom  they  worshipped,  liesides  -Sr;?  the  suffixes 
-ef?  and  -<09  were  used  to  designate  the  individual  members  of 
a  deme,  and  the  adverbial  -6ev  was  also  common  ;  but  of  all  the 

^  Cf.  Wilamowitz-Mullendorff  on  Eur.  Heracl.  39. 
^  Cf.  Angerinann  1.  c,  p.  5. 

^  For  the  origin  of  other  names  see  Etym.  Mag.  s.  v.  'EA-ters. 
*The  number  is  based  on  those  enumerated  by  IlaussouUier  in  Daremberg  et 
Saglio,  Diet.  d.  Antiq.  Grecq.  et  Kom. 


* 


<* 


« 


most  common  was  -ev^  ^  and  Wxapvev^  was  the  proper  form  for 
an  Acharnian.  Among  the  various  forms  of  address  (Ach.  286, 
298,  305,  322,  324)  that  Dicaeopolis  tries  in  his  effort  to  get  a 
hearing  before  the  Acharnian  charcoal-burners, ' Xj(^apv'r)thar  shows 
a  shift  of  termination  from  the  regular  ending  -ei;?  to  -^t;?,  and 
the  men  of  ' Xxapvai  are  addressed  very  grandly  as  ^  Sons  of 
Acharneus,'  as  if  an  ancestor  Acharneus  was  the  hero  eponymous 
of  their  deme.  Cf.  TnscoHdae  for  TnscuJani  Lucil.  Incert.  6  M., 
and  Apulidas  for  Apidus  Lucil.  iii  fr.  23  M.  used  of  a  horse. 

Long  names  were  considered  more  noble  and  honorable,  while 
the  shorter  ones  were  given  rather  to  the  ])oor  and  to  slaves.^ 
Demosthenes  makes  the  charge  in  De  Corona^  §  130,  that  Aeschines 
alter  his  recent  rise  to  the  rank  of  citizen  and  orator  had  tried  to 
dignify  his  parents  by  changing  his  father's  name  from  Tromes  to 
Atrometus  and  his  mother's  from  Glaucis  (as  given  by  Apollonius) 
to  Glaucothea.  Diodes  lengthened  his  name  to  Diocletian  when  he 
was  made  Emperor  (Aurel.  Vict.  Epit.  39,  1),  the  parvenu  Sosias 
becomes  Sosistratus  and  Sosidemus  (Tbeophr.  Charact.  28),  Plautus 
gives  his  pompous  Miles  the  bombastic  title  Bumbomachides 
Clutomestoridysarchides  (M.  G.  14,  cf.  Lorenz  Einleit.,  S.  4),  and 
the  poor  boy  ^rec^avo^  dilates  into  the  rich  man  ^Ckoarec^avoi;  with 
the  possibility  of  still  greater  expansion  into  'iTrTroKpaTLTrTrLdSrj^; 
OY  Xiovvaioirrjyavohwpo^  in  the  near  future  (Anth.  Pal.  11,  17). 
When  therefore  both  the  primitive  and  the  patronymic  form  of 
the  same  name  are  used  to  designate  a  man,  as  in  the  case  of 
'^LKOfia^o^  and  'SiKOfiaxi^'n^  ^^  Lysias  30  and  the  many  instances 
collected  by  Hemsterhuys  and  others,^  due  weight  must  be  given 
to  the  greater  length  of  the  patronymic.  In  so  far  as  -hrj^  came 
to  be  a  mere  name-forming  suffix,  and  inasmuch  as  the  body  of 
a  name  rather  than  its  termination  was  the  really  important  part 
— as  may  be  seen  in  the  interchange  of  diminutives  and  their  primi- 

^  So  common  that  Aristophanes  could  coin  KOji-Kaa^vSy  A  v.  1126,  from  the  imagi- 
nary deme  KOjuiraaai  {KSfxiros),  like  'Axapuevs  from  the  village  'Axapvai. 

*'Axa-pvqi57]5  in  place  of  'Axapff'STjs  recalls  epic  forms  like  n7]\T]id5ris  by  the 
side  of  HrjAei'STjs  ,•  as  the  dactylic  hexameter  required  the  extended  nrjArjiaSrjs  at 
times,  so  the  trochaic  tetrameter  catalectic  here  calls  for  'Axapi'rjiSTjs. 

^  Cf.  Long,  Personal  and  P'amily  Isames,  p.  276. 

*Hemst.  Lucian  Tim.  c.  22,  p.  157,  and  Ar.  Plut.,  p.  325;  Maas,  Hermes  23, 
613  sq.;  Crusius,  Neue  Jahrb.  143,  385  sq. 


48      Comic  Teiniinations  in  Aridophanes  and  the  Comic  Fragments, 

tives  and  in  the  variety  of  endings  which  the  sliortened  form  of  a 
man's  fuU  name  sometimes  has  ^ — there  was  little  difference  between 
the  primitive  and  patronymic  forms,  so  that  in  many  cases  the 
metre  decided  which  was  to  be  nsed ;  but,  on  the  other  hand,  since 
epic  poetry  and  the  names  ot*  families  in  -Bai  were  ever  at  hand 
to  keep  alive  the  feeling  for  the  patronymic  ending,  and  since,  in 
the  case  of  two  forms,  the  patronymic,  e.  g.  ^iKOfxaxi^v^^  ^^^^7 
be  supposed  to  carry  one's  lineage  back  to  an  ancestor  with  the 
primitive  name,  i.  e.  yiKo/iaxo^,^  the  difference  between  the  two 
forms  was  that  the  patronymic  w^ith  its  greater  length  was  more 
aristocratic  and  fashionable.^     This  appears  also  from  the  fact  that 
many  of  the  long  and  pretentious  names  have  tlie  termination  -3?;?. 
Hence  (PetSiTrTrLBrji;,  tiiat  combination  of  economy  and  luxury,  of 
a  plebeian  and  a  ])atrician  *  name  in  Nub.  67,  gets  a  somewhat 
loftier  tone  by  the  addition  of  the  patronymic  ending;  and  just 
as  the   cobbler  '^ifxwv  in  Lucian  Dream,  ch.  14,  lengthened   his 
name  to  ^i/j^coinSrji;  when  he  suddenly  l>ecame  rich,  so  it  may  be 
assumed  that  Strapsiades  was  influenced  by  the  aristocratic  notions 
of  his  wife  to  the  extent  of  adding  the  fashionable  termination 
-8779  to  his  father's  name  <^€LSct)v  (Nub.  134)  when  he  tried  to  give 
it  to  his  son  (v.  G5),  thus  making  the  sonorous  (J>ef 80)1^18779.^     In 
like  manner  ^riXiScovL^rji;  Av.  139  and  Fz'a ^0)1^18779  Lucian  Timon 
45-8  (Kock   ciSeaTT.    1438,  1439,  1441)  have  a   more    imposing 
effect  than  the  commoner  names  ^tl\^o)v  and   VvdOwi^,  and  this 
suits  the  context. 

But  the  metre  too  must  be  considered.  Aristophanes  has  61 
passages  in  his  eleven  plays  in  which  patronymics  in  -48779  (-618779) 
occur  at  the  end  of  an  iambic  trimeter,*^  where  they  are  most 
suitable,  and  5  passages  in  which  they  come  at  the  end  of  a  troch. 

^Cf.  Meister,  Bezz.  Beitr.  16,  174;  Maas  1.  c;  Crusiiis  1.  c. 

Hn  Lysias  30,  11,  NiKo/xaxi'Srjs  is  used  sarcastically  to  heap  contempt  on  the 
freedman  NikS/xuxos. 

^  Cf.  Foe's  change  uf  name  to  De  Foe,  and  see  Lower,  Diet,  of  Family  Names 
8.  V.  De  and  O'. 

*Cf.  Gildersleeve,  Essays  and  Studies,  p.  217. 

'The  post-Homeric  Greeks  were  fond  of  the  rhythmical  -uvlSr]^  (-wviSas).  I 
have  counted  44  names  with  this  ending,  besides  24  additional  names  with  the 
dialectic  suffix  -ai/Sas,  familiar  in  Boeotia. 

«See,  in  particular,  Ach.  595-7,  603;  Ran.  841-2;  Eccl.  825,  826,  829. 


4      1^ 


Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments,     49 

tetram.  catal.,  as  over  against  53  patronymics  in  -18779  (-a8779)  in 
all  other  parts  of  the  verse  and  in  all  metres.  Here,  then,  where 
metrical  influence  is  most  potent,  we  may  find  a  partial  explanation 
of  the  patronymic  ^€L8covi8r}p,  especially  when  we  see  KaWcTTTrlSrju 
(vs.  64)  and  ^eiSLTrTrlSTjv  (vs.  67)  at  the  end  of  the  line  in  the 
near  neighborhood.  "ErtXlScovlSr]^  also  is  found  at  the  end  of  a 
trimeter.  'E^r]Ke(TTi87]^  occurs  4  times  in  comedy  (Ar.  Av.  11, 
764,  1527;  Phrynich.  20)  and  always  at  the  end  of  the  verse 
where  'Ef  ?;Ace(7T09,  whom  Bergk,  Comm.  374,  regards  as  the  same 
person,  plainly  could  not  stand.  That  AevfcoXocj^lSi]^  was  the 
father  of  Adeimantus  is  shown  by  Plato  Protag.  315  E  and  Xen. 
Hell.  1,  4,  21,  but  since  the  patronymic  form  does  not  fit  into 
the  anapaestic  verse  in  Ran.  1513,  A€VK6\o(f)o^  is  substituted. 
Finally,  tlie  ])atronymic  form  of  SpaTrerlSa^;  in  Mosch.  1,  3  is 
due  entirely  to  the  metre,  since  hpuirerrj^  could  not  be  gotten 
into  the  dactvlic  verse. 

Comedy  chooses  or  invents  for  its  characters  names  which 
describe  their  nature  or  express  some  peculiarity.  Aristophanes 
constantly  plays  upon  proper  names  by  bringing  out  their  etv- 
mological  signification  in  addition  to  applying  them  as  names 
to  individuals.  We  are  compelled  to  think  of  the  real  meaning 
of  ^LKolBovXo^  Eq.  615,  \Vwta9  570,  EvxapLSrj^  Vesp.  680, 
Avaifidxv  Pac.  992,  Lys.  554, 'A/5^(7TOyLta;!^77  Th.  806,  Irparcoplfcr} 
807,  Ev/SovXr]  808,  and  such  names  approach  ordinary  appella- 
tives in  proportion  as  this  meaning  is  the  more  prominent.  When 
there  is  no  name  in  existence  that  conveys  the  thought  intended, 
Aristophanes  does  not  hesitate  to  coin  one.  This  he  does  either, 
as  in  Xfivo-KMv,  Eq.  264,  by  using  in  the  compound  one  member, 
e.  g.  -KMv  {-Kocov),  that  is  already  familiar  from  some  name-group,^ 
cf.  Aao-Kocop,  'Itttto-kocop,  KaXXi-KMr,  k.  t.  X.,  or  by  the  use  of 
name-forming  suffixes,  or  by  both  means  combined.  One  of  these 
name-lorming  suffixes  is  -Sr]^,  Its  distinctive  characteristic  is  that 
it  forms  proper  names  of  men,  and  to  this  use  it  is  restricted. 
Consequently,  it  carries  with  it  more  formality  and  stateliness  than 
the  other  name-forming  suffixes.  In  this  way  he  coins  MapLXdSrj^; 
(fMaplXr}  =  the  dust  of  charcoal)  and  UpLVL87]<;  {irplvo^  =  the  holm- 

^See  Fick  u.  Becht.,  Gr.  Personennamen,  S.  5;  Fick,  Curt.  Stud.  9,  168. 


I 


50      Comic  Terminations  in  Ai^isfophnnes  and  the  Comic  Frac/ments, 

oak,  cf.  180,  QGS)  which,  together  with  Ev(l)opiSi]^  (ev  ami  (i>opelv), 
'Mr.  Coalcarrier,'  'Mr.  Coalbacker/  are  very  appropriate  to  the 
charcoal-hurnei-s  in  Ach.  609  and  612. 

^Tpey\ndhris;  ^  (cf.  arpeyp-ai)  dram.  pers.  iu  Nub.,  also  in  vss.  134, 
1145.     The  name  alhules  to  his  character  as  ^rpeyjro-Sifcoi;,  cf.  434, 

1455. 

'Epaapovlhr]  XapiXae  Archil.  79  K*  reminds  us  of  \\rpei'Sr)<^ 
Wya/xifjLvcov  and  similar  epic  coml)inations,  as  if  'Epaa/xoviSrif; 
were  the  patronymic  of  ^Epciaficov,  but  it  has  here  the  force  of 
an  appellative  (ipdcr/iio^,  epaaro^)  and  is  used  ironically  (venus- 
tulus).  It  is  imitated  in  the  same  spirit  by  Cratinus  fr.  10 
'Epaa/j-oi'lSr]  BaOiTTTre,  cf.  Bergk  Comm.  7  sq.  In  the  same  way 
Cecrops  who  resembled  a  dragon  in  his  lower  parts  is  called  with 
epic  formality  KeKpo^fr  Apa/voi^rtS?;?  (Vesp.  438)  instead  oi'  BpciKwv 
or  SpaKoi'ToeiSy]^;  {SpaKovrco^yj^).  'OpTvyLSy]i:"AvTiK\o^  Tryphiod. 
178  is  in  some  respects  similar.  'OpruYtS?;?  (opruf)  is  believed " 
to  refer  to  Anticlus'  desire  to  talk,  when  Helen  approached  the 
Wooden  Horse  in  Troy  and  called  the  iVchaean  chiefs  by  name, 
imitating  the  voices  of  their  waives,  cf.  Od.  4,  285  sq. 

'ATroSpao-fTTTTiS?;?  Vesp.  185  is  a  ])retentious  name  {Fugacides), 
coined  diro  rov  dirohpaaai  together  with  the  aristocratic  name- 
element  -17717-,  and  like  ^\HiSi7T77lS7js;  the  compound  is  made  up  of 
members  more  or  less  inconsistent.  The  reading  of  Venetus  G 
d77o8paai7777[hrj^,^  if  corrected  to  \\770Bp.,  gives  a  real  patronymic 
that  is  more  in  keeping  with  the  epic  surroundings,  and  should  on 
this  account  be  preferred.  Our  Odysseus  then  becomes  '  Utis, 
Apodrasippus'  son,  the  Ithacan.' 

KpovL^ap  {—  77o\v€Tr]<;,  Hesych.),  the  Laconian  form  of  KpoviS-rj^;, 
is  the  name  of  an  old  man  in  comedy,  perhaps  from  the  KwpaX/cr/co? 
of  Epilycus  (Bergk).  For  Kpovo^;  in  this  sense  cf.  Nub.  929,Vesp. 
1480,  Plat.  Euthyd.  287  B. 

TTjpvrdhrji;  (yrjpvew)  name  of  play  of  Ar.  ;  Ylapprjatdhrji;  (77ap- 
prjaia)  Lucian  Piscat.  19  sq.;  'T77epT0VLBr]i;  {v77epTovo<^)  Poll.  4.  65. 

Compare  in  Plautus  tlie  ironical  names  Theopropides  and  Misar- 
gyrides  in  the  Mo^t.  for  the  stupid  old  man  and  the  money-lender 

^Also  the  name  of  the  victor  in  Pindar's  seventh  Isthmian. 

2  Curt.  Stud.  1,  1,  18. 

^  airb  Apaa-nT-rriSov  RVBC  vulg.,  'A7ro5pa(Ti7r7ri5oi>  conj.  Elmsl. 


\  1^ 


>1 


Comic  Terminations  in  Aristophanes  and  the  Comic  Fragments,     51 

respectively,  and  the  bombastic  titles  Polymachaeroplagides  Pseud. 
988  sq.  and  ThensaurochrysonicochryMes  Capt.  285,  besides  those 
already  mentioned.  Note  in  addition  the  seven  lengthy  and  formi- 
dable hybrid  names  in  -ides  that  Sagaristio  gives  himself  in  Pers. 
702-5,  cf.  epigr.  ap.  Ath.  162  a. 

^  Tlie  grammarian  says  (Etym.  M.  554,  40)  lareov  on  oh  -notovaiv 
ai7o  77poair/opiKov  77aTpwvvfitKd.  And  when  the  name-forming 
suffix  -^779  is  added  to  an  appellative,  it  immediately  raises  it  to 
the  dignity  of  a  proper  name,  since  -8779  is  rightly  used  in  proper 
names  only,  and  always  suggests  membership  in  a  noble  family 
descended  from  some  great  ancestor.  Such  words  belong  to  the 
sermo  vulgaris  and  were  used  to  good  effect  by  the  comic  poet. 
Sometuues,  when  they  desired  to  characterize  a  man  or  express  some 
thought  about  him  in  a  short  sentence,  they  would  put  it  in  the 
form  of  a  compound,  and  by  adding  -8rj,  give  it  all  the  semblance 
of  a  proper  name. 

Lyric  poetry  furnishes  two  examples: 

o-VKorpayiSTj^^  (=adKa  rpd^ycov)  Archil.  194  B.^  Hippon.  134 
B.'',  used  Sid  TO  €VT€\€<;  rov  0p(o/j,aTo^  (Eust.  1828,  11).  Cf 
avKorpdyo^  Aelian  N.  A.  17,  31,  pultifagus  Plant.  Most'  828* 
Pultiphagonides  Poen.  54.  ' 

^o(poSop77l8a^  {=\a0po(t)dyo^,  c7kot6S€L77po^,  cf.  Hesych.)  Alcae 
37  B,  cf.  Pint.  Quaest.  Conviv.  8,  6,  1.  This  epithet  and  others 
like  ct)v(Tfccop  and  ydarpcop  were  hurled  at  the  tyrant  Pittacus  by 
Alcaeus. 

The  rest  are  from  a  comic  source  : 

yevpdSa^  {yevva)  Kan.  179,  640,  738,  739,  997,  Eccl.  304,  Eq. 
240,  Ach.  1230.^  Compare  yewalo^,  but  since  yewdha^  is 'used 
of  persons  only  and  in  only  the  uom.  and  voc.  cases,  we  can  com- 
pare with  it  but  3  of  the  21  occurrences  of  yevvalo,  in  Aristophanes 
viz.  Av.  285,  Th.  220,  Ran.  1031.  In  the  Frogs  Dionysus  (179)' 
the  servant  of  Pluto  (640,  738)  and  Xanthias  (739)  employ  yJv- 
vaSa^,  Aeschylus  (1031)  on  the  other  hand  uses  yevvalo^^  cf.  also 
1011,  1014,  1050.  Compare  xPV<^t6<;  el  Kal  yevvdha^,  spoken  by 
Dionysus  in  Ran.  179,  with  yevvalo<;  el  of  Euripides  in  Th.  220. 
It  appears  therefore  that  yewdha^  is  preferred  by  the  lower  char- 

1  Also  in  Plato  Charm.  155  D,  Phaedr.  243  C,  Aristot.  Eth.  X.  1  10  1^  t  urian 
Caliimn.  20.     See  Thesaur.  for  later  Greek.  '      '    ''' 


52     (  omic  Terminatiom  in  Aristophanes  and  the  Comic  Fragments. 

actei-  it.  oonu.lv,  tlu.t  it  belongs  to  the  lan£;uago  of  the  cotniuou 
people  just  as  the  other  appolkitives  in  -8,,s^  though  it  is  somewhat 
more  common  than  the  rest.  _ 

KXiTTTihr,^  Fherecr.  219,  of.  KXcomSai  for  Kpa>-Kihai  U^.  i'i, 
aTa6v\o-K\oTTLSa<;,  rnpacidae.  _ 

^oi8>?9  Menaud.  1002.  Derived  from  0od<,  it  is  used  ot  one 
who  is  avaladvTo,,  irpao,,  ev,',Ov^.  Kaff   o^owrnra  roO  A,.voko>v 

(Eu.<t.  9<)2,  18).  J,      T, 

^e\,TT.Sa<  Ran.  9U1  "sweet  simpletons."  See  the  edd.  Ihe 
:MSS.  have  MeXiriBat  but  the  metre  re(iuires  the  second  syllable 
to  be  lona.  The  scholiast  and  Eust.  1735,  50  derive  it  from  fieXc, 
of.  l3\tTo°fidix,xa,  Nub.  1001.      Found  also  in  uBecr-rr.  657. 

^,<Tf^apY/8^9  (=apXa.<'  eV;  ,ii^e,o)  597.  and  <7TpaTa,..8^9  (-  <rTpa- 
revoaevo,  schol.)  59i5  are  bombastic  terms  that  occur  in  the  descrip- 
tion of  the  honest  citizen.  Bergk,  Comn,.  9,  thinks  that  they  serve 
also  as  a  mocking  criticism  of  the  iullatc.l  style  of  Gorgias.  \\  .th 
airovBapxl^r,,  cf.  apxcyXvirrdSn^  (=  y^vcfxov  ra,  <lpx«?  ^'''^■ 
911  iuit.)  a8e<77r.  84.  and  with  the  whole  passage  compare  baga- 
ristio-s  description  of  himself  in  Plant.  Pers.  702-5,  and  his  cxtra- 

ordinarv  jiatrouymics.  ,  „   ,   i 

■n-avovpynr-rrapxi^n,    {=  fravovpyoi    "vTrapxoi)    Ach.    603      the 

noble  race  of  rascallv  hipparchs.' 

Aeschvlus  characterizes  Euripides  in  Ran.  841-2  with  high- 
sounding  names  arco^ivXioavWeKTaBvi  {=  (TroifivXfiara  avWeyoyu) 
and  paKioavppa-KTdSv^  {=  puKia  avppciirTwv)  but  the  thought 
contained  in  them  is  rather  lowly.  Euripides  in  turn  calls  the 
elder  poet's  pupils  '  the  noble  race  of  trumpets,  lances  and  long 
beards'  craXiriyyoXoyxv-rrnvdhat.  (to  yho-^  twv  miX-myya^  Kal 
X6yxa^  'cal  v^']va,  ix6vr<ou)  '"  true  Aeschylean  style.  Ct. 
^^evvCLorrvWeKTahai  Ath.  157  a. 

TToXvxaplha, '  Lys.  1098,  1242.  ^oXvx'>PV^  occurs  both  as  au 
adjective  '  causing  much  joy,'  and  as  a  proper  name.  For  the 
latter  use  see  Pape-Benseler.  TroXvxaplBa  as  used  by  the  Lace- 
daemonian in  the  Lysistrata  has  the  force  of  an  appellative,  '  my 
joy,'  '  my  delight,'  but  the  appearance  of  a  proper  name. 

'  The  metre  demands  ttovKuxv'^S"  <"  irtuAKxap'Sas. 


;. 


«^ 


Comic  Trmiinations  in  Aristophanes  and  the  Comic  Fragments.     53 

Loheck  on  Soph.  Aiax  880  has  collected  many  words  of  this 
sort  from  various  sources  in  later  Greek,  and  in  these  much  of  the 
original  force  of  -8?;9  must  have  been  lost. 

(i)0eipoKOfiihi-i<^,  dSerrn.  1188,  glosscd  by  Hesychius  with  (pOeipMv 
yeficov.      Cf.  evfcofio^,  /SaOvKOfio^,  TrvpaoKo/xo^,  XevKOfcofio^,  k.  t.  X. 

cl)i\oyaaToplSai  {=  yaarepa  (f)t\odvTe<^)  Anth.  Pal.  8,  169,  cf. 
oXffioyaarcop  Amph.  10. 

(TTa(t)v\oK\o'7r[8a^  {=  aTa(f)v\a^  KXeTrrwv)  Anth.  Pal.  9,   348. 

Among  the  dozen  huge  compounds  hurled  at  the  Cynic  philoso- 
phers in  the  ridiculous  epigram  of  Hegesander  quoted  in  Ath.  ]  62  a 
are  the  three  that  follow  :  ocfipvavaaTraaihai  {=  6cf>pd^  uPaairMvre^, 
cf.  Ar.  Ach.  1069,  Alex.  fr.  16,  Philem.  174,  Menand.  556,  Dem. 
19,  314),  Xoira^apirayihaL  {=  Xo7rd8a<^  ap7rd^ovT6<;),  and  ^ijrape- 
TTjaidSac  {=cipeTi]v  i^i^rovvre^  v.  Philem.  71).  Add  yeveioavWe- 
KTciSac  (=  ykveia  avXXiyoine^;)  Ath.  1  57  a. 

ypafxfioScSao-KaXiSrj^  {=  ypafi/jLchcov  SiS/iaKaXo^,  cf.  ypa/jip^aro- 
SiSdaKaXoi;)  Timon  ap.  Ath.  558  b. 

irpoaaycoyihai  {=  irpoaaywyeU)  Pint.  Dion.  28. 

In  Plautus : 

rapacidae  (rapaces)  Aul.  370,  '  race  of  thieves.' 

plagipatidae  {qm  plagas  patlmitur)  Capt.  472,  Most.  356, 
"children  of  the  lash''  (Ramsay). 

oculicrepidae,  cruricrepidae  [quibus  oculi  et  crura  crepani)  Trin. 
1021,  'tribe  of  battered  eyes  and  battered  legs.' 

glandionida,  pernonida  Men.  210.  High-sounding  names  in 
-covLSr)<;  from  glandiuni  and  perna  to  indicate  pieces  of  pork  and 
ham. 

The  suffix  -h€v<^  which  denotes  the  young  of  animals  is  closely 
related  to  the  patronymic  ending  -hm}  On  the  analoo^v  of 
yaXiSev^,  XeovriSev'i,  deriSev^,  k,  t.  \.,  Hipponax  16  B.* addresses 
Hermes  (Ma/?;?  iralha)  as  Mam^eO,  and  in  the  same  way  young 
Cu])ids  are  called  in  jest  'EpwriheU  'nestlings  of  Eros'  in 
Anacreont.  25  B."  Aristophanes  has  this  comic  shift  of  termi- 
nation in  Xaipih9)^  '  kids  of  Chaeris '  Ach.  ^C)Cu  Cobet.  N.  L. 
151  conjectured  KXeirrthev^  [z=  KXeirrov  irarpo'^  veorjiov)  for 
/cX€7rTiSr](;  in  Pherecr.  219. 

»See  Curtius,  Grundz.  d.  gr.  Etym.*,  S.  629;  Leo  Meyer,  Vergl.  Gram.  2,  557. 


LIFE. 


The  author  was  born  in  Baltimore,  Md.  on  January  16th,  1872, 
attended  the  public  schools  of  his  native  city,  and  was  graduated  at 
the  Baltimore  City  College  in  1889.  He  received  from  the  Johns 
Hopkins  University  the  degree  of  Bachelor  of  Arts  in  1892,  that  of 
Doctor  of  Philosophy  in  1898,  his  graduate  studies  being  Greek,  Latin 
and  Sanskrit.  At  the  University  the  following  honors  were  conferred 
upon  him:  Hopkins  Scholar  1889-90,  Honorary  Hopkins  Scholar 
1890-92,  University  Scholar  1892-94,  Fellow  1895-96.  He  followed 
the  lectures  of  Professors  Gildersleeve,  Warren,  Bloomfield,  Miller, 
Spieker,  and  K.  F.  Smith,  to  all  of  whom  he  acknowledges  his  indebt- 
edness, but  to  Professor  Gildersleeve  especially  he  would  express  his 
gratitude  for  the  inspiration  of  his  words,  his  kindly  interest  and  gen- 
erous assistance. 


•5»  -  <.-jtv~'  jii; ' 


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